Damon Packard’s Movie Diary
This diary chronicles the ruminations of an indie filmmaker based in Los Angeles, known for quirky titles like “Reflection of Evil,” “Untitled Star Wars Mockumentary,” “Foxfur,” and “Fatal Pulse.” Recently, he showcased some AI-generated pieces at the 18th Annual American Cinematheque Horrorathon, with more available on his YouTube channel. After a day of filmmaking, he often relaxes at local multiplexes and arthouse theaters.
May 20th: “Obsession” (d. Curry Barker), AMC Century City 15
This film embodies the kind of bleak, empty storytelling that seems to be celebrated by today’s culture but just left me feeling, well, bored. It wasn’t just dull; it dragged on.
While this movie shares a name with De Palma’s “Obsession,” it lacks the allure that his films—echoing Hitchcock’s “Vertigo”—manage to capture, with their rich atmosphere and narrative depth. The lead, Genevieve Bujold, is unnervingly clingy and shot in intimate close-ups that almost feel surreal.
Interestingly, during a critical moment, there was an alarming outburst from the audience, resulting in the film being paused because someone had a seizure or something along those lines. I guess that spared me from enduring the movie a bit longer.
As I exited, Bernard Herrmann’s haunting score echoed in my mind. I caught sight of the paramedics who arrived, looking rather taken aback as they slowly wheeled the affected person out. Leaving the theater, I passed a display for “The Mandalorian and Grogu,” and to my surprise, Herrmann’s music lingered with me the whole way.
Then there she was—a Genevieve Bujold lookalike elegantly walking past a Funko Pop machine, her soft curls illuminated by the lights. She turned just enough for me to notice the resemblance before she vanished up the escalator, like the fading memory of a De Palma dream.
May 29th: “Backrooms” (d. Kane Parsons), AMC Century City 15
If the first two minutes don’t engage you and there’s no improvement thereafter, it’s pretty clear you’re in for a rough ride. What a letdown. It feels like a test of endurance rather than entertainment. There simply isn’t a single memorable moment or concept in this film.
I’m a fan of Chiwetel Ejiofor, but in this case, his talent feels misused; he deserves way better than this material.
Hearing the praise for “Disclosure Day” from some folks reminded me of George C. Scott’s character realizing his daughter had been taken by the porn industry—just absurd.
I had hoped some young, ambitious director would bring something fresh, but instead, it’s just another mindless, lifeless, and boring piece of content, much like everything else being inundated by audiences who wouldn’t recognize a good film if it slapped them in the face.
Take a look at Spielberg, who was just 24 while making “Duel,” or Orson Welles at 25 with “Citizen Kane.” They were incredible works. Now, we have Spielberg at 79 with “Disclosure Day,” which feels like uninspired, generic filler more suited for a streaming service. Is it age that’s affecting creativity? Or has good storytelling just become an endangered species?
June 2: “Pressure” (d. Anthony Maras), AMC Century City 15
Just when you think every World War II story has been told, along comes this low-budget gem about competing weather forecasters.
Initially, it seemed like typical cable TV fare, but it actually turned out to be quite charming and engaging. The writing, music, direction, and characters were all surprisingly well-crafted. Even Brendan Fraser, who seemed miscast at first, pulled it off and genuinely appealed to the audience. Kelly Condon deserves a shoutout too—she nailed her role as a captivating military officer.
It may not change the world, but as far as mainstream films go, it’s one of the best I’ve seen this year—it serves as a reminder that there are still filmmakers who know how to make a decent movie, even if the production tech makes some wonder if it truly qualifies as a “film.”
June 6: “The Doors” (1991, d. Oliver Stone), Vista Theater Hollywood
I watched the late 70mm showing, and while it looked visually appealing, something felt off with the sound. It lacked bass, which was puzzling—could be a printing issue or something wrong with the projector. Not sure who to ask about that.
This film stirs up nostalgic feelings, reminding me of sneaking onto the set with a friend back in 1990 to join the extras for a whiskey at 3am. The Morrison fandom is still alive; there were plenty of enthusiastic screams in the audience. Oh, and Vista still checks bags, so I usually try to find a way to smuggle in snacks.
June 12: “Disclosure Day” (Steven Spielberg dies), AMC Burbank 16
I caught a showing of “Disclosure Day” that was almost eerily quiet at 11:30 p.m. What an underwhelming snoozefest—almost felt like an embarrassment coming from an experienced director. It was unbearably dull, and honestly, I struggled to stay awake while absorbing this mess.
I can’t fathom how anyone could defend it. Even amid the flood of lackluster mainstream films, there are those who will rise to its defense—audiences whose film knowledge is questionable at best.
Whenever I hear praise for films like “Disclosure Day,” I’m reminded of the intense frustration George C. Scott’s character would feel… but alas, it’s just another forgettable movie that nobody seems to care about.
John Williams’ score was on point, though. While Spielberg may be losing his touch, Williams still knows how to deliver.
June 17: “Fast and Furious” (d. Kenji Tanigaki), AMC Marina Marketplace 6
I caught a late screening of this entertaining Hong Kong action flick.
The film’s vibe evokes the unique and sometimes over-the-top martial arts films of the 1980s, albeit with a bit more gore.
Solid choreography in the fight scenes, although they did stretch a bit too long towards the end—classic action movie syndrome. It’s hard for American films that borrow from Hong Kong to achieve the same level of authenticity, but this film did the genre proud.
The use of AI Lip Sync was impressive for those unfamiliar; I know there’s a lot of backlash against AI, but it’s really transforming how things can be done in film.
I just wish I could have seen this in a better theater, one that didn’t suffer from poor visuals and sound. A film like this deserves top-notch screening conditions.
Still, it’s nice to get unexpected delights in such a predictable world.
