THE LITTLE THINGS (2021)

January 30, 2021

 Greetings again from the darkness. When a script has bounced around Hollywood for 30 years without getting produced, there is usually a good reason why. Written by John Lee Hancock in the early 1990s, a handful of directors have been attached at various times, but it’s the writer himself who has managed to get it on screen all these years later. Mr. Hancock has found his niche as a director by targeting the precise middle of mainstream with such films as SAVING MR BANKS (2013) and THE BLIND SIDE (2009), an approach more challenging when the topic is chasing a brutal serial killer.

Of course, casting three Oscar winning actors is always a wise choice. Two-time Oscar winner Denzel Washington (TRAINING DAY, 2001, GLORY, 1989) stars as Joe Deacon, a defrocked L.A. homicide detective banished to the California desert as a Deputy Sheriff in Kern County. “Deke” suffered a heart attack, went through a divorce, and lost his job as a result of being haunted by an especially grisly unsolved case. When Deacon is tasked to pick up evidence in Los Angeles, he stumbles into a case being worked by his hotshot replacement, Jim Baxter. Oscar winner Rami Malek (BOHEMIAN RHAPSODY, 2018) brings his unorthodox mannerisms to the role and soon (and unsurprisingly) the ‘old school’ and ‘next gen’ detectives are teaming up to work a serial killer case with (unsurprising) similarities to Deke’s old case.

Denzel is especially effective in the first half of the film. His Deke is a quiet man with extraordinary observational and listening skills, and he brings none of his patented histrionics to the role. Deke’s ‘little things’ process quickly identifies a suspect, and it’s a doozy. Oscar winner Jared Leto (DALLAS BUYERS CLUB, 2013) is Albert Sparma, a greasy-haired appliance repair man (who let’s this guy in their house?) with a penchant for following news of the city’s crimes. Soon enough he’s taunting Deke and Baxter, and enjoying every minute of their frustration at the lack of evidence. It’s the cat and mouse game we’ve seen many times.

I’m a fan of retro movies, and Hancock announces upfront that this one is set in 1990. There are two reasons for this: that’s the era when he wrote the script, and it corresponds to a time when the Night Stalker was fresh on the minds of L.A. citizens. (side note: Netflix is currently showing the superb docuseries, “Night Stalker: The Hunt for a Serial Killer”). The idea of mismatched partners with polar opposite personalities is another aspect that we are quite familiar with, and Hancock even uses flashbacks to show us exactly what haunts Deke.

Supporting work comes from Chris Bauer, Terry Kinney, Glenn Morshower, Natalie Morales, and Michael Hyatt, with the latter two providing a non-victim female presence – although neither is given much to do. The most interesting aspect of the story is how Baxter is falling into the same emotional void as his new mentor, but unfortunately, not much time is devoted to this. In fact, the story has very little to keep us interested, and instead that burden falls to Washington, Malek, and Leto. Hancock has delivered a dark, brooding crime thriller that fails to deliver the thrills. It certainly pales in the obvious comparisons to David Fincher’s Fincher’s SE7EN (1995) and ZODIAC (2007), but is fine for killing time while stuck at home during a pandemic.

Now available on HBO Max

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SUPERNOVA (2021)

January 28, 2021

 Greetings again from the darkness. Relationships end. Sometimes that brings relief, other times pain. For long time couple Sam and Tusker, the end is speeding towards them and they are each taking approaches on how best to handle. Writer-director Harry Macqueen delivers a tender story that is elevated by two extraordinary lead performances.

Colin Firth (Oscar winner, THE KING’S SPEECH, 2010) stars as Sam, a concert pianist, and Stanley Tucci (Oscar nominated, THE LOVELY BONES, 2009) co-stars as Tusker, a published novelist. These are arguably career best performances from both, and they complement each other so well on screen that we simply forget we are watching actors and accept the plight of this couple – of these two men. Driving along in their RV from a bygone era, they have the familiar exchanges that come from spending a lifetime together. We enjoy their banter, but it’s Sam’s opening line that sets the tone when he says, “We’re not going back, you know”. He’s referring to a suitcase that Tusker didn’t allow him to help pack, though soon enough we realize that line is even more to the point when it comes to their life journey.

As the bucolic northern England countryside passes by, it becomes evident that Tusker has early onset dementia. Though more present than not, he sometimes forgets a word, while in his worst moments doesn’t know where he is or how he arrived. The purpose of the trip is two-fold: Sam is giving a ‘comeback’ concert after many years away from the circuit, and this is Tusker’s farewell visit to family and friends. Of course, we (and Tusker) also recognize that this is likely the final fond memory this couple will make. While Sam is insistent that he can help Tusker remain productive, Tusker is well aware that he will quickly become a burden to the man he loves – and that’s not something he wants to see happen.

Dementia is a slow fade, often over many years. Recognizing that it’s happening to you is as painful as watching a loved one decline. People deal with this in their own way, and Macqueen’s film handles it gently, while the actors exhibit much grace in their portrayals. The line, “It’s not about fair. It’s about love” really struck a nerve, and made it clear that these are two characters we like and believe in – inside a story that’s heart-wrenching. Star-gazing plays a role here, and there’s only a mild poke at Margaret Thatcher’s policy towards gays. This isn’t a movie of politics, but rather one of emotions and humanity. Not much happens here … only everything. Best to reach for the stars, as “we’re not going back.”

*side note: I did have to look up “frog-marching” since it’s used in conversation, and I had not previously heard the phrase.

The film hits theaters on January 29, 2021 and Digital on February 16, 2021

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THE MAN WHO SOLD HIS SKIN (2021, Tunisia)

January 28, 2021

 Greetings again from the darkness. Lao Tzu wrote, “Being loved deeply by someone gives you strength, while loving someone gives you courage.” But to what extreme would you go for true love, and how far is too far? Writer-director Kaouther Ben Hania offers an early scene on a commuter train as Sam Ali and Abeer flirt and tease to the point that he publically, and loudly, proclaims his love for her. Unfortunately for him, his outburst occurs in Syria, where human rights are always in peril. In fact, this love story is burdened with the weight of human rights, individual choices, and the power of art.

Ms. Ben Hania bookends her film with a choreographed art installation coated in a blizzard of white walls and white gloves. It’s 2011, when a distant relative in law enforcement assists Sam Ali (Yahya Mahayni) with his (quite creative) escape from Syria to Lebanon – after a painful slap of reality accompanies Sam’s goodbye to his beloved Abeer (Dea Liane in her first screen credit). As Sam flees for his life, Abeer is pressured by her family into an arranged marriage.

We then flash forward one year to find Sam working in a Beirut chicken factory. He scrounges for food at the buffet of local art galleries until one day he is spotted by Soraya (a blond Monica Bellucci), the agent for acclaimed artist Jeffrey Godefroy (Koen De Bouw). When Sam and Godefroy meet, the artist tells him that art is “alive” and, more precisely, “I want your back”. A Faustian deal is cut. Godefroy turns Sam Ali into a living piece of art by tattooing his back, and Sam gets the travel visa he desperately needs to reunite with Abeer.

With Sam basically a commodity (there are even T-shirts of his back in the gift shop), there are protests to his being exploited – this despite Sam enjoying the nice hotels, room service, and promise of the visa. Of course, as with any commodity, it’s only a matter of time before the almighty dollar comes into play, and soon Sam is auctioned off to a collector. Subtle humor has a role throughout much of the film, and Mr. Mahayni is quite believable as a Syrian refugee sacrificing for love. Ms. Ben Hania’s film is inspired by “Tim”, an original artwork tattoo by Wim Delvoye sold to a collector in 2008. Mr. Delvoye, a controversial Belgian artist, even makes a brief appearance here as an insurance agent. This is a thought-provoking love story, survival tale, and commentary on the bent side of the art world. When is a man truly free? We don’t typically think of Tunisia as a hotbed for cinema, but this film deserves attention.

This is Tunisia’s entry for the Foreign Language Oscar

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BABY DONE (2021)

January 21, 2021

 Greetings again from the darkness. “I don’t want to not have a baby.” This is just one of the zingers Zoe rattles off during this charming, and often quite funny film from director Curtis Vowell and writer Sophie Henderson. Fellow New Zealander Taika Waititi is an Executive Producer, and his influences are apparent (and always welcome). In a light-hearted way, while still maintaining plenty of heart, the film explores the fear of losing or compromising one’s true self when parenthood strikes.

Rose Matafeo delivers a terrific performance as Zoe, a tree-climbing arborist by profession, and a thrill-seeking adventurer by choice. Her partner in life, and in the tree-trimming business and in the thrill seeking, is Tim (Matthew Lewis). They are the type of couple who go to a friend’s baby shower and peek into the gender reveal box before dominating the party games. Zoe is fed up with losing friends, and describes the life cycle as “Married, house, baby, done”, implying that people aren’t the same after having completing these steps and no longer want to hang out with free-wheelers and the unencumbered like her and Tim.

Denial. That’s the best description of how Zoe reacts to finding out she’s pregnant. Besides not telling Tim (a major relationship gaffe), she continues on with tree-trimming and pursues the “Tree Climbing Championship” she has qualified for (I still wonder if that’s really a thing). When Tim and her friend Molly (Emily Barclay) find out about the secret, feelings are hurt and emotions wreak havoc. Comedy is provided through the prenatal/antenatal class instructor, as well as through Zoe’s new acquaintance Brian (Nic Sampson) whom she connects with online. See, Nic … well, he, uh … has a thing for pregnant women. Not babies, mind you. But pregnant women – which by definition seems to limit the prospects of a long-term relationship.

The always-great Rachel House makes a brief appearance as the headmaster at a local school, and much of what we see is a mess created by pregnant Zoe as she attempts to stay focused on her “bucket list”. The film excels at presenting two versions of anxiety with Zoe and Tim, and it’s loaded with relatively small moments that are quite relatable – some funny, some more serious. Like it or not, parenthood creates life changes, and the topic benefits from New Zealand wit, and a cast that perfectly complements the sharp and insightful script.

In select theaters and VOD on January 22, 2021

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NO MAN’S LAND (2021)

January 21, 2021

 Greetings again from the darkness. The title is drawn from what the locals call the gap between the Texas-Mexico border and the fence/wall that must be crossed for those looking to make their way. The film is directed by Conor Allyn and was co-written by his brother Jake Allyn and David Barraza. Jake is also the lead actor.

Bill Greer (Frank Grillo, THE GREY, 2011) and his wife Monica (Andie MacDowell) live on a border ranch with their eldest son Lucas (Alex MacNicoll, ALL ROADS LEAD TO PEARLA, 2019). It’s not an easy life, as the illegal aliens who cross their land sometimes cut the barbed wire fence for access, allowing the Greer’s cattle to escape. Their son Jackson (Jake Allyn) is home from college. He’s a baseball prospect with a trip to New York scheduled to meet with the Yankees (it’s funny how baseball players in the movies so frequently play for the Yankees). While home, Jackson rides his beloved horse Sundance, and helps chase the illegal aliens off the ranch.

One night things go horribly wrong, and Jackson accidentally shoots Fernando, a young boy who is crossing with his father Gustavo (Jorge Jimenez). As viewers, we’ve seen the caring father, referred to as “The Shepherd”, protect his son from the drug dealers and coyotes. Jackson’s dad tries to take the blame for the shooting when interviewed by Texas Ranger Ramirez (George Lopez in a rare dramatic turn for the comedian), but Jackson can’t keep quiet and he bolts across the Rio Grande on Sundance.

As Jackson makes his way deeper into Mexico, he crosses paths with a heavily-tattooed blond coyote named Luis (Andres Delgado) – one who had previously tried to scam Gustavo and Fernando. In fact, Luis shows up more often than a bad penny throughout the story. He’s the one true villain, yet even he thinks he’s doing the right thing (at least sometimes). Jackson is mostly impressed with how nice everyone is, and he ends up working for Victoria (Esmerelda Pimentel) at her father’s horse ranch. It turns out, Jackson is a horse-whisperer, in addition to being a talented baseball pitcher.

Jackson decides he must beg forgiveness from Gustavo, not knowing Fernando’s father is simultaneously tracking him down in a quest for vengeance. Mr. Jimenez gives the film’s finest performance as he flips the switch (quietly, but effectively) from protective and loving father to vengeful man on a mission. The script is filled with clichés and contrivances, with Jackson playing the role of white guilt with an emphasis on cross-cultural empathy. Mexico, and its people, are not like what he expected or had been led to believe. An elevator ride, The Adventures of Huckleberry Finn, and a rendezvous at a funeral are examples of scenes that induce cringes from us as viewers, but nothing too outrageous is included, and we are engaged enough to continue along on Jackson’s trip.

This IFC Film opens January 22, 2021

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MLK/FBI (2021, doc)

January 14, 2021

 Greetings again from the darkness. “Free at last.” Martin Luther King, Jr’s speech at the 1963 March on Washington is partially shown, yet documentarian Sam Pollard’s film proves that MLK was never really free, and still isn’t, even 50 plus years after his death. Based on David J Garrow’s 2015 book, “The FBI and Martin Luther King, Jr: From “Solo” to Memphis”, the film looks at FBI documents detailing what can only be described as FBI Director J Edgar Hoover’s crusade to destroy the man some viewed as “the moral leader of our nation”, and others viewed as “the most dangerous Negro in America”.

Most anyone who has a general knowledge of US history in the 1960’s is aware that Hoover was focused on knocking the revered MLK off his pedestal. What the new documents and the film show is that Hoover was not a free-wheeling rogue (at least as far as King was concerned), but rather a tool of the informed administrations he served. Phone taps, surveillance, and undercover agents were all utilized and authorized in the campaign to discredit King’s credibility and expose him as morally compromised. The extra-marital affairs are no revelation, but the letter sent encouraging King to kill himself, along with the audio tape recordings of consensual affairs comprise what former FBI Director James Comey labels, “the darkest part of bureau history”.

Rather than the usual talking heads, the film plays the interviews over the non-stop archival footage and photographs. Those we hear from include diplomat and activist Andrew Young, King speechwriter Clarence B Jones, Yale historian Beverly Gage, retired FBI agent Charles Knox, and author David Garrow. The film goes back to 1956 when King was a Montgomery, Alabama preacher and takes us through his assassination in 1968 Memphis … a 13 year non-violent movement for Civil Rights, Voting Rights, and Poverty.

We learn that Hoover and William Sullivan (Head of FBI Intelligence) first thought that King’s downfall would be his connection to communism via his advisor Stanley Levison. When that failed, they decided to expose King’s non-monogamous activities which they felt would surely cause him to lose followers. The connection between King and the LBJ administration seemed strong right up until it wasn’t – due to King criticizing the money going to the Vietnam War, rather than to solve poverty in this country. Mahalia Jackson’s beautiful singing over the opening credits leads us right into the quandary of whether releasing the secret recordings and documents is a further invasion of privacy, or is it reasonable historical research? Pollard wisely doesn’t play any of the recordings during the film. More FBI documents and recordings are scheduled for release in 2027, and that same question will be pertinent then as well. Surely by now we’ve learned that people can accomplish great things, while themselves being imperfect.

Available January 15, 2020 Video on Demand (VOD)

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THE MARKSMAN (2021)

January 14, 2021

 Greetings again from the darkness. Liam Neeson’s particular set of skills, and his grumpy face, seem to show up on screen most every January. If there is a surprise to this year’s entry, it’s that the annual Liam action movie is not directed by Jaume Collet-Sera, as were THE COMMUTER (2018), RUN ALL NIGHT (2015), NON-STOP (2014), and UNKNOWN (2011). Mr. Collet-Sera has apparently traded Liam in for The Rock as his go-to action star. Instead, it’s director Robert Lorenz (TROUBLE WITH THE CURVE, 2012) who co-wrote the script with two other first time screenwriters, Chris Charles and Danny Kravitz. As with most (not all) of Mr. Neeson’s aging-action-hero films, this one is both watchable and forgettable.

Jim Hanson (Neeson) is a struggling Arizona cattle rancher. He’s also a flag-flying former Marine, who carries a walkie-talkie so he can immediately inform the Border Patrol whenever he spots “IAs” (illegal aliens) crossing his land. Jim is a shell of his former self ever since his beloved wife passed away. He spread her ashes on the hill next to his rundown home … a home that sits on land in the final stages of bank foreclosure. Her daughter Sarah (Katheryn Winnick, “Vikings”) is part of the Border Patrol and periodically keeps tabs on Jim.

Although he never seems to care much for those crossing the border, Jim’s quick to offer a drink to anyone stranded and injured, even as he calls the Border Patrol. A young boy and his pleading mother are no different until a carload of cartel boys show up. The subsequent shootout leaves a couple of people dead and ignites a cross-country cat-and-mouse chase. A previous scene from Mexico taught us that the mother, Rosa (Teresa Ruiz), and her son, Miguel (Jacob Perez), were sent on the run thanks to her brother’s crossing of the cartel. Mauricio (Juan Pablo Raba, THE 33, 2015) is the intimidating cartel soldier sent to kill the mother and son.

The story covers Monday through Saturday, in what would be considered a stressful week for just about anyone. Jim had promised Miquel’s mother that he would take the boy to her cousin’s home in Chicago, and being the good soldier, he is committed to fulfilling his duty. Along the way, the grizzled old man and the angry young boy bond while driving in Jim’s bullet-riddled pickup truck. Hot dogs and hamburgers play a role, but mostly a late confrontation in a barn attempts to add some character development to a story that, to this point, had very little.

Filmmaker Lorenz has a history with Clint Eastwood, and offers up a respectful nod to his mentor by including a grainy scene from HANG ‘EM HIGH on a motel television. There is surprisingly little political commentary included, which actually adds to the slowness and dryness of the material. Liam Neeson is now 68 years old, and he has developed a nice little niche for himself with these action movies that are interesting enough to burn a couple of hours for viewers.

Coming to theaters January 15, 2021

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EVERYBODY FLIES (2021, doc)

January 14, 2021

 Greetings again from the darkness. Do you know where cabin air comes from on the commercial planes you fly for vacation or business? Most of us don’t. We simply take the airlines’ word that the air is filtered and safe. Or at least we did before the pandemic motivated us to question air quality everywhere. Former British Airways Captain Tristan Loraine has spent most of two decades researching and compiling information on the cabin air he and so many flight crews … and passengers … breathe on a regular basis.

Loraine is not diving into whether COVID is being spread between folks on a flight, but rather his focus is on TCP (Tricresyl Phosphate), a chemical present in the oil used in jet engines. Without proper filtration (HEPA filters are not sufficient) and maintenance, TCP can leak into cabin air and cause varying degrees of health issues. Catastrophic events are rare and typically identified early, but the real concern is the long-term impact of being exposed to slow leakage causing contaminated air.

The comparison to “Big Tobacco” is made here, and it seems to fit as airlines and manufacturers all say there is nothing to worry about. This stance seems to fly in the face of documented cases of varying illnesses reported by crew members over the years … plus the numerous times where passengers and crews were overtaken by odor and toxic fumes that put them in immediate danger. When the toxicologist points out that a defense of “no evidence” showing danger is meaningless when no tests are run or data collected, the real concern kicks in.

Tristan Loraine and co-director Beth Moran (a former USAF Thunderbirds pilot) present testimony, research, and documentation to justify focused attention on the risk of bleeding air from the engines. They contrast this method with that of Boeing’s 787 which utilizes compressors. What’s shocking is that this has been a known, and overlooked issue since the 1950’s, and the hope is that the film can spur some true action for the safety of those why fly. No narrator is utilized in the film, but the information is systematically presented … it’s not meant to be entertaining, but rather informative. And that it is.

VOD January 15, 2021

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SOME KIND OF HEAVEN (2021, doc)

January 13, 2021

 Greetings again from the darkness. The Villages of Florida is a massive master-planned retirement community. It’s similar in development to Del Webb’s Sun City, but roughly 5 times the size. We learn that there are 20,000 single folks among the residents of The Villages, and it’s described as “Disneyland for retirees”. Director Lance Oppenheim (his first feature length documentary) peaks behind the façade of paradise.

“You come here to live. You don’t come here to die.” One of the residents makes that statement, and there is much to back it up. Golf courses, tennis courts, swimming pools, recreation centers, social activities, concerts, churches, shopping, and it seems there’s always a party to be found. However, rather than explore the seniors who are embracing this pre-fab lifestyle, director Oppenheim focuses on four individuals whose situations wouldn’t be considered success stories.

Anne and Reggie are about to celebrate 47 years of marriage. But is there reason to celebrate? While Anne fine-tunes her pickleball skills, Reggie self-treats his declining mental acuity with drugs and solitary spirituality. Dennis is the party boy. He’s an 81 year old ‘teenager’ living in his van down by The Villages as he searches for a companion with money – one who will open her villa and treat him like the king he views himself as. Barbara is homesick for Boston. She moved to The Villages with her husband, and he died not long after their arrival. Out of money, she’s working full time in the community office – carrying a sullen look that implies depression and loneliness.

Anne looks to a counselor for help, while Reggie fights drug charges by representing himself in a court of law to a judge who doesn’t appreciate rudeness. Dennis is a self-described “handyman” who can’t work venetian blinds, and is smarmy in his pickup methods. Barbara watches video of her wedding on her iPad while eating lunch with her dog, and only shows signs of life when the Parrot Head Margarita man is kind enough to converse with her. While we are getting to know these four, Oppenheim shows off the fabulous community with a golf cart bridge over the freeway, its manicured lawns, swaying palm trees, and engaged citizenry.

The Villages were originally developed by Harold Schwartz, and he makes a brief appearance here thanks to an old video clip. With more than 100,000 residents, is it the sterile environment that masks sadness as presented by Oppenheim, or does it provide an environment for folks to live out their final years by staying active, learning new activities, and socializing? By choosing these four as his focus, there is little doubt the filmmaker is making a statement about his stance, but a better approach would have included insight from “the other side” of the argument. Otherwise, why are there so many “Frogs” – those there till the croak?

Available January 15, 2021 on Video on Demand

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NIGHT STALKER: THE HUNT FOR A SERIAL KILLER (2021, docuseries)

January 13, 2021

 Greetings again from the darkness. Crime dramas are one of the most popular television series types these days, and Netflix is proving to be exceptional at producing crime docuseries – a short run series (2-8 episodes) based on real life crimes. This latest is the most haunting yet, as it focuses on a 1985 crime spree in California by one of the most notorious serial killers in history.

Tiller Russell (Producer BERNIE, 2011) directs all four episodes, which provides the continuity needed in this type of project. Each of the episodes are titled: Devil in the City of Angels, Anyone Could Be Next, Lock. Your. Doors., and Manhunt. Additionally, director Russell uses the date and number of days for story structure … beginning with March 17, 1985 as “Day 1” (although the police later learned this sick individual had already been at work for months). This was 1985 and Los Angeles was at its most glamorous, while also experiencing a heat wave.

The first three episodes play like a whodunit and detailed police procedural. We meet the two lead detectives: Gil Carrillo, who was the youngest detective in the Los Angeles County Sheriff’s office, and his partner, Frank Salerno, the legendary detective who was worshipped for tracking down the Hillside Strangler (actually two cousins) in 1977. Both Carrillo and Salerno sit for interviews and recall much of what went in to the case – the detective work, the many mistakes, and the luck (both good and bad). In addition, there are interviews with surviving victims, family members, and journalists to go with the significant archival footage and photographs. Rather than a high-level overview of history, this is an in-depth dive into a tough-to-solve case that had the citizens of an entire state on edge.

As Carrillo and Salerno go back over the case and tell their stories, they are re-living the frustrations of the time. There were so many loose puzzle pieces and, initially, they weren’t sure the pieces were connected. In stark contrast to most serial killer cases, there was no pattern – no consistency in the race, age, or location of the victims. In addition, the crime scenes were only similar in that no fingerprints were discovered. Even the choice of weapons varied. In other words, it was a detective’s worst nightmare.

It’s fascinating to watch as the detectives discuss how footprints were the connective piece that made them realize they were dealing with one very sick individual. The crimes committed – murder, sexual abuse, burglary, etc – were increasingly brutal, and we see many of the crime scene photographs. Even more gut-wrenching are the recollections of surviving victims and family members. It’s mind-boggling how some of these folks survived such vicious attacks.

We also hear from some of the journalists who followed the story at the time, including one who broke the cardinal rule and became part of the story. It’s the humanity of this story that sticks with us, as there is certainly no attempt to glorify this psychopath or his reign of terror. Maps are utilized to help us visualize the haphazard nature of the attacks, and we hear about the multitude of jurisdictions in the area that were not initially sharing details on crimes. It wasn’t until July 20 – Day 125 that the detectives made a specific crime public, which caused the media to create monikers, including “the Walk-in Murderer”, before settling on “Night Stalker”. With no apparent motive or pattern, shock waves of fear flooded the local communities. Episode three recaps the crimes and victims, including one near Detective Carrillo’s home and another in San Francisco. This drives a particularly galling segment featuring San Francisco’s mayor at the time, Diane Feinstein (now a U.S. Senator). Feinstein made a huge gaffe that infuriated the detectives. She released much of their evidence during a TV press conference, possibly jeopardizing the case.

It’s not until the fourth and final episode that we understand how things came together and police were able to close in on the suspect. A tip from Skid Row and a rare break with fingerprints led to the release of a mug shot. With help from the community, the suspect was ultimately captured, and things got even weirder for the trial (3 ½ years later). Richard Ramirez was charged with dozens of crimes with victims ranging from age 6 to 82. In the courtroom, he flashed his palm with a pentagram and yelled, “Hail, Satan”, even while attracting his own following of groupies. Detective Salerno recalls thinking that the Hillside Strangler was a “once in a lifetime case”, and then as things started to come together on the Night Stalker, he thought, “Here we go again.”

The series features haunting, lasting images and a horror that most of us can’t even imagine. Richard Ramirez is the face and embodiment of pure evil, the likes of which we can’t fathom. He created fear and destroyed lives in unspeakable ways before being apprehended and sentenced to death row. Writer Philip Carlo later interviewed Ramirez, and some of those recordings are heard throughout the series. Dedicated Law Enforcement officers like Carrillo and Salerno are remarkable people committed to ensuring most of us can sleep well at night, and that the evil work of psychopaths is stopped as quickly as possible. Even though I vividly remember the time of the Night Stalker, this series will stick with me for a while. It’s not for the faint of heart, but it’s exceptionally well done.

Premiering January 13, 2021 on Netflix

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