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Fredric Brown's "First Time Machine" originally ran as a one-page story in the September 1955 issue of "Ellery Queen's Mystery Magazine." It's a quick read with a mildly amusing punchline-not the kind of thing that that would've stuck with me. But Jay Woelfel clearly saw more in it. He licensed the rights, expanded the characters, and self-financed this short film.

The movie sticks to the same core story, but the characters have actual personalities this time around, there's a new character, plus an added layer of social commentary that would've made Rod Serling proud. The cast has good chemistry and the performances feel natural. The opening takes place in a lab at Bowling Green State University (where, if I'm not mistaken, cinematographer Jose Cardenas teaches), but it doesn't feel claustrophobic, and once the action moves outside, the visuals shine. And speaking of visuals, the animated credits sequences are hypnotic.

It doesn't exactly break new ground, but it's a charming little micro-budget film that would fit right in with a Twilight Zone revival.

Jeff Goldblum plays a charismatic bisexual man living with his insecure gay lover (Christopher Guest) while also pursuing a relationship with the neurotic Julie Hagerty. Guest resents having to share his boyfriend with a woman, and both Goldblum and Hagerty are under the dubious care of psychiatrists who spend more time indulging their own carnal affair than treating their patients. The film follows a few chaotic days in their lives.

I usually enjoy Robert Altman's films, but 'Beyond Therapy' is a trainwreck. There are glimpses of a worthwhile movie here, but the direction sabotages it at every turn. The sets feel stagey and artificial, Altman leans too heavily on roving camera shots outside of windows, the music frequently drowns out dialogue, and an overlong slow-motion sequence-meant to be comical, I think-comes off as idiotic.

The script is just as weak. The plot is barely there, riddled with logic gaps, and capped off with a finale that feels completely disconnected from the climax. The female characters are homophobic, the male characters are chauvinistic, and none of them are particularly likable - a real travesty, given the strong performances. As a gay man who lived through the '80s, I can't say I was shocked by the bad characterizations, but younger viewers might find them outright offensive. I haven't seen the play that this was adapted from, so I can't comment on what Altman did to Christopher Durang's material, but allegedly, he heavily revised it.

The only reason to watch 'Beyond Therapy' is for the cast. Goldblum is effortlessly charming, Hagerty plays her role to the hilt, and Guest adds some much-needed depth to a stereotypical character. If you're looking for an Altman film that treats LGBT themes with more dignity, seek out 'Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean.' And if you just want an absurd sex farce, 'Pajama Tops' is just as dated-but at least it manages to be funny more often than not.

In an animatic prologue, we learn that Popeye was once a deformed, outcast child who, in a fit of rage, killed a classmate. In response, the residents of Sweetville attempted to burn him alive, but he escaped the pyre and drowned in a nearby lake. In the aftermath, the townspeople were tormented by nightmares urging them to rebuild Popeye's home. Now, decades later, the child of one of the original lynch mob members invites friends to renovate the property, intending to turn it into a tourist trap. Cue the blood.

The setup borrows a bit from Freddy Krueger, but at its core, this is Popeye as Jason Voorhees. Judged on its own merits, the movie isn't terrible-the characters are serviceable, the acting is decent, the makeup and effects are solid, and it has a nice atmosphere.

The real issues lie in the script, particularly in how it handles the comic strip characters. Popeye's backstory feels like a missed opportunity-if they were going to give him a tragic origin, lifting from I Know What You Did Last Summer would have made more sense, at least justifying his sailor costume and seafaring ties. Instead, we get a bizarre, illogical premise where a grown man somehow returns after dying as a child. Yes, the same thing happened to Jason, but logic was never that franchise's strong suit. Meanwhile, Olive Oyl's backstory is downright ridiculous, and she barely has anything to do.

Compared to other public-domain horror cash-ins from ITN Studios (Winnie the Pooh: Blood and Honey), this is a step up, but it still feels like a retread. The only real selling point is that it's the first public-domain slasher take on Popeye. And unfortunately, the characters deserve better.