Our story opens in a well-known forum of societal hierarchy, of peacock-esque competition, of mating rituals and couplings: the mall. Shopping malls were at the height of their economic boom during the 80’s, proving to be a community hot spot, typically for the adolescent. I can think of no better place than the mall, to establish our characters before we embark on their tale of sex, drugs, and the sometimes-harrowing repercussions of irrational thinking due to underdeveloped frontal lobes. Returning to this classic after years of personal growth and understanding between viewings, I might re-dub this flick, having once considered it a comical guide, now into a compressed cautionary tale. Don’t get me wrong, I still find it funny. Stacy Hamilton is a bright-eyed teen preparing to enter into her first year of high school, and boy is she in for a doozy of a semester. Sexually woke and confused, she dives head first into the dating pool by chatting up a guy, twelve years her senior. Having been ushered in by her sensual spirit guide, Linda Barrett, (played by 80’s babe Phoebe Cates), she lies to the 27-year-old, stating that she’s 19 while he places an order for a soda (and her number) at her food court mall job. Bada-bing bada-boom, next thing you know, she’s being deflowered on the bench of a dug out; he sends roses and never calls her again. Bookending Stacy’s experiences, we have her brother Brad entering into his final year at Ridgemont High, fully realized, (or so he thinks). Brad’s got the girl, the car, a sweet gig at the local favorite burger joint, and plenty of hubris to go around. We see his perfectly assembled reality systematically deconstructed throughout the course of the movie. Rock bottom is a young man in a pirate hat and sash. No need to worry; he’ll be fine. Rounding out our cliché class of 1982, we have Mark “Rat” Ratner, the virgin nerd, and his sleazy bookie buddy, Mike Damone. I would be remiss in not giving Sean Penn’s masterful portrayal of endearing stoner, Jeff Spicoli, the proper recognition, as his marginalized “tit for tat” power struggle with Mr. Hand is potentially the most satisfying of all storylines presented. So, now with our main cast accounted for, I’ll give you the short version: Rat falls for Stacy in Science class and turns to bookie buddy for answers, (as Mike claims to have them all). Stacy, having already explored her sexual comprehension, is ready for more than Rat could even fathom, scaring him off with her assertiveness. In swoops Kama sutra guru Linda Barrett with wisdom beyond her years stating, “You’d better find another boyfriend fast!” (I’m paraphrasing). Stacy sets her sights on our bookie buddy, Mike. Bookie buddy Mike readily dismisses any loyalty he previously had for Rat, and follows our darling Stacy into her pool house where his performance proved, beyond a doubt, that he’s full of shit. Embarrassed, he quickly changes and leaves. Oops, you’re not getting off that easy, Mikey-boy. Stacy turns up pregnant and Mike further establishes himself as an overall charlatan when he leaves her to figure the issue out by herself. So in summary, Stacy loses her virginity at a baseball field, becomes pregnant in a pool house, and brings herself to the abortion clinic, all at the ripe old age of 15! Summer can’t come soon enough. Oh! In case you were wondering about Brad, as I alluded to earlier, he lost the girl, the sweet gig, and took quite a blow to his self-esteem; he still had his car, though. Spicoli. Sweet, sweet Spicoli. Perpetually stoned, notoriously tardy, it’s no wonder he’s every educator’s worst nightmare. While Ray Walston plays the role of Mr. Hand as a curmudgeon, never missing an opportunity to give Spicoli a hard time, we’re all pleased to see that these displays of resentment are actually gestures of tough love. Aw! Few could resist the golden locks and watery eyes of Sean Penn in the 80’s, so we don’t blame you Mr. Hand. Everything, more or less, works out for all of our characters, which is where my concerns set in. The laissez faire attitude our cast brings to some fairly dramatic situations can only be seen as disturbing. Did anyone else notice the absence of parents? I sure did. Apart from some intervention by way of job managers and teachers, these kids were left to govern themselves. The film harkens back to the misguided ideology of the children from Lord of the Flies , (save for the unnecessary deaths and cruelty). Okay, so that comparison might be a stretch, but I hope you see where I’m going. The movie showcases a distinct divide between a collective of youth and the older generation. So, while this flick is typically categorized as a “coming of age story,” I’m a bit more inclined to label it as a disclaimer: a comprehensive catalogue of negative outcomes due to poor judgment, set to a kick ass music score. While the scenarios we’re presented with are not unique to high schoolers, these kids take it all on with a sense of detachment that I find myself envying. While my take on Fast Times at Ridgemont High could be seen as clinical, it’s comedic appeal, raw quality regarding sexual awareness, and timeless relevance are not lost on me; it’s a cult classic for a reason. With its 35th anniversary falling this month, it seemed necessary to revisit it through the modern lens of 2017, contextualizing its applicability. Though cell phones and social media would have a major impact on the inner workings of our intertwining character developments, the overall schematics would remain the same. Youth in high school, a veritable pressure cooker of feeling and frustration, can only end in one way: the anxious awaiting of summer break and mall jobs. Stamper A Beacon transplant having moved to town two years ago. With a background in photography, literature, and a fondness of nature she does well in keeping busy in this bustling little community. #Newsletter #Reviews #KatelynStamper #FastTimesatRidgemontHigh #35thAnniversary

Whispers in the dark, a yearning, a want, we’ve all bargained with the Gods only to be left empty-handed. What if those wants could be manifested, if a power could be harnessed ensuring all desires be brought to fruition? Nancy, Bonnie, and Rochelle hope for just that when a potential fourth member to their Wiccan circle arrives at school. Sarah comes wielding a dark past and an inherent power that she doesn’t quite understand. Together, they invoke an ancient force allowing them the ability to render wish into reality. Though, lest not forget the most important rule – whatever energy is sent out, good or bad, will return three fold. Considered a cult classic, The Craft remains as relevant today as it was when it first debuted in 1996. Drenched in cultural trend, this archetypal outsiders story comes with a supernatural twist making it both relatable and captivating to watch. The girls do well in individually representing desires we’ve all craved when they wish for love, beauty, retaliation, and power. As their abilities grow ever stronger, sheer will is realized and reality manipulated. Things quickly turn when the gratification becomes addicting and morality begins to blur. Chaos and death ensue as Nancy loses grip on her sanity having taken on the spirit of an omnipotent entity. While the others may realize the consequences, Sarah seems to be the only member of the circle who grasps the gravity of their actions. As tensions rise between Nancy and Sarah, the circle is broken and lines are drawn. Tormented and downtrodden, it takes all of Sarah’s remaining strength to fully accept who she is, understanding her full potential and combating those she once considered friends. “By the power of three times three, make them see, make them see,” she chants, bringing to mind the spiritual principle of cause and effect, akin to karma. A twisted coming of age story portrayed in a raw, dark visual form, The Craft acts as a cautionary tale, reminding us to be careful what we wish for. Stamper A Beacon transplant having moved to town two years ago. With a background in photography, literature, and a fondness of nature she does well in keeping busy in this bustling little community. #KatelynStamper #HorrorFantasy #HorrorDrama #TheCraft #Newsletter #Review

A young boy’s Christmas wish comes true when he wakes up to an empty house, a house filled to capacity the night before. Home Alone opens in total disarray as a family of fifteen scrambles in preparation for a vacation in Paris. Feeling overlooked, young Kevin acts out in frustration, resulting in his being banished to the attic. Before he’s shut away, Kevin exclaims to his mother that he wished he didn’t have a family; she’s left hurt, he’s furious. The following morning, the family wakes and hurriedly makes their way to the airport, accidentally leaving Kevin behind. Kevin’s wish has seemingly come true when he finds the family gone, leaving him to his own devices. His sensation of freedom is short lived though, as feelings of dread and loneliness set in, further agitated by the introduction of two burglars eyeballing his house. As the story progresses, its surreal qualities emerge with the use of asides, slapstick comedy, and cartoon contrived tactics. The evolution of our little protagonist is expedited as he progresses from an invariable brat to scrappy hero, outsmarting the burglars at every turn and dazzling the audience with his ingenuity. Retrospectively, and in re-watching this childhood staple as an adult, once overlooked ideals of loneliness and forgiveness are made all the more apparent while not losing nostalgic triggers. Though somewhat minimized in comparison to the overarching action between the boy and burglars, one would be remiss in neglecting to acknowledge the message of hurt and healing. The momentum of this tale is anchored by the approach of Christmas Day, notoriously known as a day of giving, family, and memory. A backdrop as such does well in adding to the heart-clench factor. The touching subplot of scary neighbor turned wounded Good Samaritan, poetically bleeds into the reconciliation between Kevin and his mother. Coming full circle, Kevin makes one last wish – this time, to have his family back, regretting his initial desire. A classic, Home Alone encapsulates the surging feelings many face during the holiday season, keeping it both contemporary and timeless – a story to return to time and time again. Stamper A Beacon transplant having moved to town two years ago. With a background in photography, literature, and a fondness of nature she does well in keeping busy in this bustling little community. #December #KatelynStamper #Newsletter #HomeAlone #Xmas2016 #Quinns #CheesePizza #Review

Robby buckles up with guest, Diana DiMuro, to talk about the fun, violence and social media commentary found within Eugene Kotlyarenko's, Spree. Listen on....

Newly branded HBO Max subscriber, Robby Anderson, chats with guest, Bernadette Gorman-White, all about the new HBO feature starring America's Sweetheart, Seth Rogen, An American Pickle. Listen on....

Robby Anderson sits down with fellow movie nut, Jeremy Kolodziejski, to talk about Netflix's fresh action-adaptation from director Gina Prince-Bythewood, The Old Guard . Listen on....

This year marks 15 years since 2005’s Fantastic Four, starring: Jessica Alba, Michael Chiklis, Chris Evans, Julian McMahon, and Ioan Gruffudd. This was the first released “Fantastic Four” film adaptation (a 1994 Roger Corman directed version never officially hitting theaters, but exists out there underground on VHS tapes and the like). This movie hit at a time when superhero movies were in a slump. Just a year later, both X-Men: the Last Stand and Superman Returns would hit theaters generating mediocre reviews. For anyone who was interested in superheroes, there was a “take what you can get” mentality. I watched this movie more times than I care to admit. I was a starved audience! The creation of the Fantastic Four is a historical marker for the beginning of a new time in comic books. It was the beginning of the Silver Age (predominantly the 1960’s) and the team signified the birth of Marvel Comics. In movies, well, let’s just say... they have been fairly underserved, a footnote to the grand modern era of the Superhero Movie. The biggest blockbusters every year have “Avengers” in their titles, or something to do with the Avengers, and neither hide nor hair has really been seen of poor Reed, Sue, Johnny, and Ben. The Fantastic Four seem tailor-made for movie adaptation; they solve all of the usual problems that adapting a superhero team sets up. A team like the Avengers or the Justice League is made up of many members of varying origins and backgrounds. You have a god-like Thor standing next to a gamma-powered monster like the Hulk, standing next to a radioactive spider-bitten Spider-Man. The amount of work needed to set everything up takes hours of every viewer’s life, demands them to remember stuff they learned years and movies ago, and is really -effing hard to pull off. It is by sheer miracle and healthy planning that the Disney-owned Marvel movies have been able to make their nearly twenty-film empire. We’ve seen DC flail at it, we’ve seen the Dark Universe die quicker than a fruit fly, and surprisingly, we’ve seen the Fast and the Furious movies do it really well. But the Fantastic Four (and also the X-Men) have one thing that makes every movie executive breathe a sigh of relief: a shared origin. You only need one origin movie and you get the whole team. The four of them go into space, get bombarded with cosmic rays, and voila: you have your Fantastic Four. They share a uniform, they don’t really use superhero names very much, -- all things every movie studio wants. One of the biggest hurdles these companies face when it comes to adaptation is fighting an overwhelming sense of insecurity and self-consciousness over its source material. They view superhero names, secret identities, and colorful costumes as childish and ridiculous. It is why so many of the Avengers movies feature characters who are spies or wear armor and almost never use their superhero names. So why didn’t this movie hit it big and become a huge juggernaut? (Not The Juggernaut, that’s an X-Men character). When it comes to casting, the movie has some whiplash. Jessica Alba, bless her heart, never had the power to make it as an A-List actress. Like her contemporary, Jessica Simpson, studios kept trying to find the right vehicle to make her a star. The role of Sue Storm in the Fantastic Four is team mom. She would be more like a celebrity mom pushing organic apple sauce on her website. The movie tries to push her on her sex appeal, and it just doesn’t fit. Julian McMahon as Doctor Doom, the main villain, is also a little underwhelming and miscast. In the comics, Doctor Doom is a despot, a world leader. He is smart and strategic, almost like if Josef Stalin wore Iron Man armor and had Doctor Strange-level magic. But then you get to Michael Chiklis as the Thing and Ioan Gruffudd as Mr. Fantastic, and you hit the nail on the head. The practical effects for Ben Grimm still work really well all these years later, and remind us why special effects are not always better (*cough 2015’s Fantastic 4 *cough*). Chris Evans is a national treasure, and it took way too long for us all to see it. He had made his bones being the frat boy in so many movies that it was a shock when he was later cast as Captain America. Here he is doing the best he can with the material, and the role of Johnny Storm seems squarely in his wheelhouse circa 2005. Then there’s the issue of the humor, which isn’t exactly hilarious. They attempt to do a “she’s invisible so that means she has to get naked!” joke that really pushes the Jessica-Alba-as sex-symbol-narrative. The biggest mistake of this movie is just narrowly missing out by three years on the superhero movie boom brought on by 2008’s Iron Man. Like I mentioned, the late aughts is suh-weaty when it comes to finding quality superhero fare. That’s where the studio rights to the intellectual property of the Fantastic Four and X-Men come in. Every single time a new Fantastic Four or X-Men movie comes out, this topic gets brought back up. It is hard to remember a time before Disney and Warner Brothers owned their respective cash cows in the Marvel and DC Universes, but there was a time when comic book companies didn’t have a giant studio to call home. The X-Men were the most popular franchise in comics for nearly 30 years, and they were viewed as a hot commodity. Fox was smart enough to snatch them up and added the Fantastic Four for good measure. When Disney bought Marvel, they were left with the table scraps. The also-rans. Nobody really cared about or knew any of the Avengers characters, and the real money was in the X-Men. The Fantastic Four, counting their blessings, were glad they jumped on board the Fox train. Now, many years later, this is absolutely dripping with irony, as the Disney Marvel movies have broken every single record, both critically and financially, and every man, woman, and child in probably the whole world knows or knows someone who has seen them. 2005’s Fantastic Four did well enough to foster a sequel: Fantastic Four: Rise of the Silver Surfer . The sequel is actually rated higher on Rotten Tomatoes than the original, and it generally improves what this movie set out. Sadly, it suffers from just being a little bit forgettable. Again, timing...it was ONE year pre- Iron Man. Another sequel and a Silver Surfer spinoff movie never came to fruition, and then the comics were rebooted in 2015 to universal disdain (including by its own director) as Fantastic 4. To the relief of many, the franchise, along with the X-Men, are now owned by Disney after they bought Fox. Now all of the Marvel properties sit under the same roof. Well, Spider-Man is still owned by Sony, but he’s allowed to stop by and say hi from time to time. The future of the Fantastic Four remains uncertain as comic book movies enter into a second decade as the de rigueur of the film industry. However, given the amount of money Endgame made, I doubt this is the last we will see of Marvel’s first family. Marco Rummo Marco is a comedian, writer, and underemployed New Yorker trying to make it in this damn world. He enjoys fruitlessly pursuing love on dating apps and keeping track of all of the movies he’s seen on Letterboxd.

For Juneteenth 2020, Mike Burdge whipped together a tribute to some of the Story Screen Family's very favorite Black films. Watch the video, then watch ALL these movies. The time for recognition and change is now, and movies have always been one of the most engaging ways to teach empathy and learn about people from all walks of life. We hope you enjoy the vid.

Once believed to be lost to the sands of time, our research team at Story Screen Presents has unearthed the legendary follow-up to the infamous Casino Royale episode, where Mike is once again joined by fellow Bond-Nut, Reeya Banerjee, to freak out over movies and drink an uncomfortably large amount of Vesper martinis. Consider this a warning. Listen on....

Jack and Robby talk with guest Mike Burdge all about Kelly Reichardt's new film from A24, First Cow , as well as the current state of independent film releases on digital and limited theatrical platforms. And, naturally, they also discuss how the 66 days between the releases of Avengers: Endgame and Spider-Man: Far From Home was, while meaningless in the grand scheme of time and in no way a comment on the quality of either films, "inarguably" a big mistake. Listen on....

Robby yucks it up with guests, Diana DiMuro and Bernadette Gorman-White, about the latest installment in the the Groundhog Day cinematic multi-verse: Palm Springs. Listen on....

Jack and Robby are joined by noted sex-pot, Jeremy Kolodziejski, to talk the sweet, sweet good-talk about Spike Lee's fantastic new joint, Da 5 Bloods . Listen on....