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    Movie Review

    Bathtubs Over Broadway pays loving tribute to hidden world of industrial musicals

    Alex Bentley
    Jan 3, 2019 | 1:20 pm
    Steve Young in Bathtubs Over Broadway
    Steve Young in Bathtubs Over Broadway.
    Photo courtesy of Cactus Flower Films / Focus Features

    Musicals have been running on Broadway in New York City for over 160 years, so it’s only natural that the art form has been adapted in many ways throughout its history. But one such form — the industrial musical — was so under-the-radar that it took one intrepid comedy writer years to fully understand the hidden world.

    Steve Young worked as a writer for David Letterman at both his Late Night show on NBC and Late Show program on CBS. In his research for possible segments, Young came across albums featuring cast recordings of industrial musicals, or musicals created for specific companies like G.E., McDonald’s, and Ford to put on during their annual sales meetings.

    These weren’t slapdash shows featuring Joe from sales and Mary from accounting; they were full-fledged productions composed by seasoned musicians and starring professional actors. Kander & Ebb, Bob Fosse, Susan Stroman, Chita Rivera, Florence Henderson, and Martin Short are among the well-known names who lent their talents to industrial musicals over the years.

    Bathtubs Over Broadway follows Young years after his initial discovery, when he is hip deep into his love/obsession over the recordings and the people who participated in them. Using his showbiz connections, he’s able to meet not only with some now-famous people, but also with composers and actors whose fame never rose above these unknown productions.

    Young and director Dava Whisenant attempt to explain why the musicals and recordings were made in the first place, but the bizarre nature of them makes their ultimate meaning unreachable. Instead, much of the focus of the film is on how the discovery of the albums has affected Young and fellow collectors, as well as the memories of people like composer Sid Siegel and actor Patt Stanton Gjonola.

    While there’s plenty of unintentional humor to be found in songs like “My Bathroom is a Private Kind of Place” and others created for the shows, the surprising thing about the film is how Young — and by extension, the audience — gets emotionally involved with the people he meets. Young may have started out using the music as grist for the comedy mill, but he ends up having a real reverence for it and those who used industrial musicals as a way to make a living.

    Without spoiling it, the film has a whopper of an ending that puts a perfect capper on the wonderful, hilarious, and heartwarming documentary. Bathtubs Over Broadway is a must-see experience that proves that being open to a human connection can lead to some amazing discoveries.

    ---

    Bathtubs Over Broadway is playing an exclusive one-week engagement at Texas Theatre in Oak Cliff.

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    Movie Review

    Faces of Death returns with modern twist on cult horror film

    Alex Bentley
    Apr 10, 2026 | 10:30 am
    Dacre Montgomery in Faces of Death
    Photo courtesy of of IFC Films
    Dacre Montgomery in Faces of Death.

    True horror fans will likely be familiar with the 1978 cult film Faces of Death, which purported to be a documentary showing real-life killings in gory detail. It didn’t, of course, but that didn’t stop rumors from continuing to spread for decades. Now, almost 50 years and multiple sequels later, comes a new version of Faces of Death, an actual movie that pays homage to the original in interesting ways.

    Margot (Barbie Ferreira) works at a YouTube-like company called Kino as a content moderator, flagging videos that violate the company’s policies. This means her job often involves seeing some truly despicable things from all manner of depraved people. One day, though, she comes across a video that seems a little too real, and after seeing more similar videos, she starts to believe they’re genuine murders.

    Going against her company NDA, she starts to investigate the videos on her own, which puts her on the radar of Arthur (Dacre Montgomery), who is actually kidnapping people and killing them on camera through methods seen in the original Faces of Death film. It’s not long before Arthur tracks her down, with a plan to make her one of his next victims.

    Written and directed by Daniel Goldhaber (How to Blow Up a Pipeline) and co-written by Isa Mazzei, the film is not so much scary as it is creepy, with the occasional gross-out sequence. The idea of having someone emulate the killings in the cult film is a good idea, and pairing it with the modern-day attention economy - in which content creators go to increasing lengths for clicks - is a clever twist on a concept that other films have done.

    The film as a whole is a commentary on how social media and video sharing sites have often decided to prioritize profits over the well-being of their users. Margot is shown allowing videos involving violence and sexual assault to stay on the site while nixing ones depicting how to use Narcan or demonstrating putting on a condom on a banana. Josh (Jermaine Fowler), Margot’s boss, is even explicit in the company mandate that outrageous videos drive views.

    While Arthur has the makings of a good villain, there are few attempts to make him seem truly diabolical. His kidnappings often seem more spur-of-the-moment than calculated, and even though he has a well thought-out dungeon at home, the house’s location in the suburbs seems to make him vulnerable to easy discovery. Goldhaber and Mazzei leave more than a few unanswered questions along the way that take away from the intensity of the story.

    Ferreira is yet another actor from Euphoria who’s capitalizing on her exposure from that show. She plays Margot’s increasing anxiety well, and when the action ratchets up in the final act, she meets the moment in a satisfying way. Montgomery returns to the vibe he had while playing the evil Billy on Stranger Things, and even though his character doesn’t fully live up to his potential, Montgomery sells his evil for all it’s worth.

    The new Faces of Death may not be what some are expecting given the reputation of the previous films, but it’s a solid horror/thriller that uses the brand as a launching pad into something different. It doesn’t make much of a dent in the scare department, but it does give its violence and gore a degree of relevance in today’s often desensitized world.

    ---

    Faces of Death is now playing in theaters.

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