Monthly Archives: March 2026

Film Review: Blood on the Moon (1948)

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After visiting the San Diego Zoo with my sweetie-wife and a very quick lunch of a turkey sandwich to stay within my diet, I hurried to downtown San Diego and the Digital Gym theater for San Diego Film Geeks monthly western for 2026, Blood on the Moon.

RKO Pictures

The western genre is not one that generally calls out to me. Growing up in the 60s the TV was filled with western programming, both original series and films released for broadcast and I guess that the overexposure and my own natural inclination towards more fantastic stories made that part of cinema unappealing to me. There are a few scattered westerns in my library of film, but the genre is decidedly underrepresented there. That said when I saw that this month’s selection is considered a noir and that it was directed by Robert Wise very early in his illustrious career, well that made it just too damned intriguing for me to miss on the big screen. The screening was well attended, and a film historian gave a nice 10 minutes or so talk before the film.

Blood on the Moon, adapted from the novel Gunman’s Chance by Luke Short, stars Robert Mitchum as Jim Garry, a cowboy down on his luck, his herd of cattle having died of disease, answering a call for employment by an old friend Tate Riling (Robert Preston). When Garry arrives he discovers that Tate has brought him into a range war between small farm ranchers organized by Tate against John Lufton, whose large herd usually sells to the Indian Services for the local reservation, but now must be driven from the native territory or be seized by the government leaving the only grazing land for Lufton that claimed by the small ranchers. Things become morally complicated for Garry when he learns that conflict has been engineered from the start by Tate and a corrupt official as a way to force Lufton to sell his herd to Tate at fire-sale prices, ruining Lufton and enriching Tate and the official.

Photographed by Nicholas Musuraca who also shot the fabulous Out of the Past — which also starred Mitchum — this western has the dark moody atmosphere of a film noir, making use of deep shadows to present a frame where far from everything is visible to either the characters or the audience. With morally grey characters, betrayals, and corruption this more than qualifies as a noir in my book and presented in a realistic and gritty manner, the film avoids the grand mythological themes that so often bedevils the western. When the characters fight, they tire and become injured, showing them as ‘real’ people and not idealized versions of American Knights dispensing justice in a lawless land.

I thoroughly enjoyed this movie and it was well worth an afternoon downtown.

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Republicans Reject Responsibility

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The Constitution of the United States of America clearly and deliberately gives the power to declare war to Congress and not to the executive. The modern age and a parade of presidents has eroded the distinction between military action and war. Since the Second World War Congress has acquiesced to the White House more and more latitude in conducting offensive military action but still recognizing their role in the process with legislation such as an Authorization for Use of Military Force.

Trump launched his sudden and extensive bombing campaign against Iran without any form of Congressional approval. This is not one fast mission with a clearly defined goal, this is a prolonged campaign with ill-defined, if defined at all, objectives. Destroying that nation’s nuclear ambitions, that had been ‘obliterated’ nine months prior, preventing a retaliatory strike following an attack by one of our allies, collapsing Iran’s government, have all been both expressed and denied as goals of the bombing war. It is clearly the purview of Congress to debate and either approve or forbid this action. Yet legislation to do precisely that has been killed by the Republican leadership of both houses.  Politicians who have repeatedly and loudly accused nearly every executive action by Democratic presidents of being a step towards serfdom and an illegal usurpation of the Constitution cower from the cult that surrounds this president, breaking their oaths of office and proving to anyone with unbiased eyes that they are from a political party unfit for power.

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Scheduling Conflicts

Warner Brothers Studios

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From the moment I laid eyes on the trailer for The Bride! (one must not skip the exclamation mark) I knew that this was a film I wanted to see. A mash-up of classic Warner Brothers’ 30s gangsters with Frankenstein? That is an idea so wild, so unconventional that to wait for streaming struck me as a crime against cinema. It was a natural for me. I have several WB classic gangster films on Blu-Ray disc and while no direct adaptation of Frankenstein exists in my library of films, it is a property I have seen many movie versions of thus seeing The Bride! became a requirement. It opens this weekend.

My sweetie-wife let me know that she wants to see this new film as well and that means we watch it at our usual time and convenience: the earliest available Sunday morning matinee. She is not a late-night person as I am and so these showings not only fit her circadian rhythm but if it’s early enough also provide an excellence chance for a lunch out.

So far all is well and good, but then San Diego Film Geeks had to go and get into the picture.

San Diego Film Geeks is a local organization, club, association, a something, that hosts cinema screenings throughout the calendar year. In addition to their Secret Morgue, a six-film marathon each September where the titles are kept secret and only a theme is announced, they also host a year-long film festival at a micro theater, the Digital Gym, screening one film, or sometimes a double feature, a month for that year’s theme. Previous festivals have been ‘Get Hammered,’ celebrating Hammer Horror, and ‘Noir on the Boulevard’ for film noir. In the past, I have purchased the year-long pass giving them the maximum support, but this year’s theme is Westerns, a genre that, with a few exceptions, I have never particularly taken to.

March’s western is Blood on the Moon and is described as a film noir western.

Damn, if that one doesn’t interest me. Of course it is screening Sunday at noon. If I want to see the San Diego Film Geeks presentation, I will have to push the trippy gangster/monster movie off for another week.

As if starting a diet this week was painful enough.

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Not My Skill Set

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So, I have been tinkering with a book cover for my werewolf novel, The Wolves of Wallace Point. I am actually unlikely to self-publish the book but the thought continues to run through my head.

I have no graphic training and very little talent in that art, but I did have a concept, an idea for something that I might like even if it was out of step with current trends in book cover design.

Decades ago, and I am talking like 80 years, one accepted design school for books was to have the cover very simple, one or two colors as your background, some very simple design elements and the text of the title and the author. No illustrations, no paintings or photographic elements, a cover stripped down to bare minimalism.

So, using Claude, because I have no experience or skill with photoshop or the like, and public-domain clip art, I knocked together this cover. It’s not sized for a paperback or hardback book, but just the front image of an eBook, but you know, I think it kind of works. I don’t consider it to be an A.I. made cover, though I used an A.I. to help me make it. I selected the color, the font, the clip-art paw prints and used Claude to execute my vision much quicker and much more easily than if I had tried to learn enough Photoshop to achieve the same effect.

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Stalled and Going Into a Spin

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My current Work in Progress, WIP, is stuck with me not having added any new text to the project in about two weeks. This is usually an indication that if a project is not dead then it is in critical condition and scarcely alive in the Intensive Care Unit.

It has been a very long time since a novel sized project of mine has crashed and burned without reaching a completed manuscript and even far longer since one has crashed so early in the process. Having an unfinished manuscript is a bit of an embarrassment and something that ignites guilt and a little depression, prompting motivation to get the thing some forward momentum. But I think before I do that, I need to understand why it stalled and how I can recover this aircraft before it discovers that its altimeter has reached an AGL of zero.

The novel before this one, my gay, 80s, San Diego-centric, ghost story, written sans outline, was a great variation from my usual authorial practice and I am very happy with the results. (Even if to date I haven’t found an agent that shares that opinion.) I started this next project also without an outline and between that lack and the nature of the story, large spread out with what I hope to be a collection of important characters but lacking a single point of view carrying it through, I think those factors are why it is struggling.

So, my recovery plan right now is to stop work on the manuscript itself and revert to an outline. Make sure I know the various characters that are exploring the multiple themes of the novel and then resume writing. If that fails then it would be best to move on to a new project, something, perhaps, less ambitious.

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Movie Review: How to Make a Killing

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Glen Powell, displacing Benedict Cumberbatch as the actor now found in everything around you, stars in the black satire as Beckett Redfellow, this bastard son of a disinherited daughter from a massively wealthy family.

StudioCanal

As the patriarch of the family, Whitelaw Redfellow (Ed Harris) placed his vast 28-billion-dollar fortune into a trust to avoid estate taxes, the disinheritance of Beckett’s mother is no barrier to Beckett inheriting the fortune. What is a barrier is the 7 people ahead of him in the family tree. A chance encounter with his childhood crush, Julia (Margaret Qualley) ignites Beckett’s drive to eliminate the people standing between him and the vast fortune, a program made riskier and more fraught with Beckett’s affections torn between Julia and a new woman in his life, Ruth (Jessica Henwick.)

Adapted from the 1907 novel Israel Rank: The Autobiography of a Criminal by Roy Horniman, the source material that also inspired Kind Hearts and Coronets writer/director John Patton Ford updates the material to current times, making the satire of wealth and privilege sharp but without ever stopping the story to pull out a soapbox for a lecture. The movie unfolds as a flashback with Beckett recounting his life and crimes to a priest as a framing device that neatly provides a witty and wry narration. The failure of many voiceover narrations in movies is that they lack character, the distinctive voice and point of view that elevates them from mere exposition dumps to genuine vehicles of insight. Beckett’s narration provides enough warmth and vulnerability to make the character empathetic while never fully excusing his acts of murder for mere monetary gain. Powell’s deep reservoir of charm serves him and the film well, keeping the audience engaged and on his side, concerned for his fate as events spiral out of his control.

Jessica Henwick as Ruth isn’t given a lot to do here, but she does well with what is handed to her in the script.  As the ‘pure’ love interest in contrast to Qualley’s ‘corrupt’ love interest Henwick breathes life into a character that is given little depth beyond voicing the counter-ideology that wealth is far from the real meaning of life and that value can be found in service. Henwick is also a performer who with only modest changes to hair and make-up transforms greatly. I failed to recognize her as Peg, one of my favorite characters in Glass Onion, a tribute to her underserved talent.

The more biting and dynamic female role is given to Qualley’s Julia. A woman who at first appearance seems to be quite likeable but as the story progresses reveals that she operates with little to no empathy for anyone, not even Beckett. I have become quite a fan of Qualley’s work having seen her now in three films, this one, Once Upon a Time In Hollywood, and Honey’s Don’t. (I skipped The Substance knowing that certain sequences, ones that have nothing to do with the central spectacle of the film, possessed a high probability of triggering a migraine.)

Few people arrived for the late Saturday evening screening that I attended which is a shame. How to Make a Killing is not going to make box office history nor change the course of film in the 21st century but it’s entertaining, well made, and with a point of view that many other supposed satires lack.

It should be seen.

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We are the Harkonnens

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Late Friday evening, early Saturday morning, President Trump, in coordination with the nation of Israel, initiated ongoing military actions which were the equivalent of war, against Iran without bothering to obtain, even consult with, the Congress of the United States of America, the sole body given by our constitution with the authority to declare war.

Do not misconstrue, by deliberate intent and misrepresentation or by casual, clumsy reading, that my opinions here in any manner or way voice support for that theocratic despotic regime of that nation. The Islamic revolution brought no freedom to the Iranian people but moved them from a secular despot to a theocratic one. My concerns at the moment though are for the American people and the rot that is corrupting our national system.

Trump did not ‘sell’ the American people on this war. He did not spend days or weeks laying the evidence and case that this action was essential to our security and safety as a people or as a nation. He did not go to congress, one that is entirely controlled by his own political party and has shown repeatedly that there is no debasement that they will not endure to place his will into action, to gain their consent and authorization for the military misadventure. Trump did not rally our allies, he did not build a coalition to generate international support for this attack. He, along with the Prime Minister of Israel, two charter members of the ‘Board of Peace’ of which Trump is Chairman for life, charged ahead with their plots and plans to decapitate the Iranian leadership sans any congressional authorization or approval — blatantly unconstitutional.

Trump’s supporters will inhabit the spectrum from full-throated support to shamed silence and deceptive ‘what-aboutisms’ to deflect from this authoritarian action. People who are quick to push their pocket constitutions into your face, screaming ‘Unconstitutional!’ at even the mildest firearm regulation will suddenly fall quiet about this abuse of executive power and privilege. If they speak at all it will be to declare criticisms of Trump to be ‘unpatriotic’ and the product of Trump Derangement Syndrome.

How long will this war last? I don’t know, no one knows. Once begun such things have a life of their own. Iran is striking back, after all they were attacked without warning or declaration of war, making the Trump administration more like the Harkonnens of Dune than the founding fathers. It is very hard to win a war purely from the air and I doubt that this administration possesses neither the spine nor the stomach for ground action. We have started a war on a footing that seems highly unlikely to produce a clean definitive resolution.

The Islamic Republic of Iran may fall internally, creating a power vacuum that apparently Trump and his allies hope will be filled by kinder, gentler people. Though if history is any guide the kind and the gentle generally do not outcompete the cruel and vicious in filling power vacuums. Rebellions may be built on hope, national strategies should not be.

The Islamic Republic may withstand these blows, in which case the hope is that the new leaders are cowed and subservient to America and Israel’s wishes. That too strikes me as an unrealistic outcome. Any new leadership must not only manage external forces, such as the implacably hostile American and Israeli positions but internal stresses which range from insurrectionist forces and the desire of current forces, such as The Islamic Revolutionary Guard, unwilling to surrender their own power. Pride and ego will be powerful determining forces in the post-conflict environment and people who have been humiliated are disinclined to be submissive. People die for pride.

I have no hope that the Republicans in charge of the House or the Senate will find the backbone to live up to their oaths and so it will fall onto the American people to replace them this fall with men and women who will.

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