Review: Dredge


When you boot up Dredge, you might think you are getting a relaxing, Stardew Valley-style fishing experience where you just kick back, cast a line, and listen to lo-fi beats. But developer Black Salt Games and publisher Team17 had something much weirder and far more sinister in store. You play as a nameless fisherman who arrives in a strangely secluded archipelago called the Marrows, and right from the jump, things feel incredibly off. You are given a rundown boat and told to catch fish to make money, but the game slowly peels back its layers to reveal something deeply unsettling lurking beneath the waves. It is a game that takes the most mundane aspects of the fishing sim genre and twists them into a brilliant, unforgettable blend of survival, horror, and puzzle mechanics.

Let’s talk about the actual fishing mechanics because they are surprisingly robust and satisfying. You are not just mashing a button to reel in a generic fish. As you progress through the game, you unlock different rods, crab pots, and trawling nets, each requiring a slightly different approach to use effectively. There is a simple but engaging timing-based mini-game for reeling that varies depending on the size and rarity of the catch, keeping you on your toes. Catching common fish like mackerel or cod is a breeze, but when you hook something aberrant or otherworldly, the mini-game gets incredibly frantic. The game does a fantastic job of making you feel like a competent angler while constantly introducing new species and equipment to keep the core gameplay loop from going stale.

But the real genius of Dredge lies in its inventory management, which essentially turns your boat into a spatial puzzle game. Your catch does not just magically go into a bottomless bag; you have to physically slot fish into a grid on your boat’s deck. Different fish take up different amounts of space, shaped like Tetris blocks. A small anchovy takes up one square, while a massive shark might take up four or five. As your boat gets bigger, so does the grid, but you also have to fit engine upgrades, tighter nets, and refrigerated storage on that exact same grid. You are constantly playing a game of spatial Tetris while out on the water, deciding if you have room for that highly valuable abyssal fish or if you need to toss out some common junk to make space.

This is where the survival mechanics start to bleed into the gameplay, and it is also exactly where the horror starts to creep in. During the day, Dredge feels almost peaceful. The pixel art is gorgeous, the water looks serene, and the locals at the docks are quirky but polite. But once the sun goes down, the entire vibe of the game shifts dramatically. A thick, suffocating fog rolls in, your visibility drops to almost nothing, and the soundtrack changes to something deeply oppressive. You start to hear strange noises in the water, and if you linger out in the dark too long, your screen starts to warp and distort as your character’s mind begins to fracture.

This introduces the panic meter, which is easily one of the most stressful survival mechanics I have played with in a long time. If you stay in the dark or get too close to the rogue eldritch horrors swimming around the islands, your panic goes up. If it maxes out, you crash your boat and wake up having lost a chunk of your hard-earned catch and inventory space. You also have to manage your hull integrity, because ramming into rocks or getting smacked by a sea monster costs you money and risks sinking your only means of survival. Add in the need to manage your fuel to get back to port and your sleep meter to avoid passing out, and you suddenly realize you are not playing a cozy fishing game anymore. You are playing a tense resource management game where one wrong decision in the dark can completely ruin your entire run.

The way Dredge mashes up these seemingly incompatible genres is incredibly seamless. It takes the soothing, methodical loop of a game like Moonglow Bay or Animal Crossing and injects it directly with the survival anxiety of Don’t Starve and the creeping cosmic dread of a game like Call of Cthulhu. You want to push your luck and stay out late to catch that one rare nocturnal fish, but the survival mechanics punish you harshly for being greedy. The horror elements do not just serve as cheap jump scares, either; they are baked directly into the fishing mechanics. Some rare fish can only be caught during a blood moon or in the darkest parts of the ocean, forcing you to navigate through pitch-black waters filled with terrifying rock formations and unseen monsters just to fill out your encyclopedia.

Exploring the world is a joy in itself, even when it is scaring the pants off you. The archipelago is divided into distinct biomes, each with its own unique fish, hidden secrets, and terrified residents. As you complete quests for the locals—fetching specific fish, finding lost items, or hunting down dangerous aberrations—you unlock new parts of the map and new abilities for your boat. The overarching narrative is mysterious and vague in a way that works perfectly for the genre. You do not need a massive lore dump to understand that something went terribly wrong in this place a long time ago; the environment tells the story brilliantly through ruined ships, mutated wildlife, and the paranoid ramblings of the islanders.

By the time you reach the late game, your little dinghy has been transformed into a high-tech seafaring vessel, but the waters feel just as dangerous, if not more so. Dredge is an absolute masterclass in taking familiar gaming mechanics and twisting them into something completely unique. It respects your time as a player, offering a tight, well-paced experience that never feels like it is padding its runtime. Whether you are happily organizing your latest haul in the warm glow of the daytime sun or frantically paddling for your life through a foggy nightmare, the game constantly keeps you engaged. If you have even a passing interest in fishing games, survival mechanics, or Lovecraftian horror, you owe it to yourself to drop a line into Dredge. Just do not forget to head back to port before dark.

Late Night Retro Television Review: 1st & Ten 4.10 “Out of the Past”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing 1st and Ten, which aired in syndication from 1984 to 1991. The entire series is streaming on Tubi.

After last week’s trip to “the future,” this episode returns to 1988.

Episode 4.10 “Out of the Past”

(Dir by Stan Lathan, originally aired on December 7th, 1988)

As a show, 1st & Ten has a weird habit of introducing new characters and pretending as if they’ve always been around even if they’ve never been seen or even mentioned before.  In this episode, we meet Coleman King (Richard Lawson), the team’s veteran running back who fears that he’s on the verge of being dropped from the Bulls.  Coleman is also an old friend of TD Parker’s (O.J. Simpson).

TD is conflicted.  He knows that Coleman is past his prime.  The Bulls are on the verge of signing a new running back and, when they do, TD knows that he’s probably going to have to cut Colman from the team.  As a former player, TD knows how painful it is when your professional career is murdered and no one is held responsible for it.  Complicating matters is the clear attraction between TD and Coleman’s wife, Della (Vanessa Bell Callaway).

While TD tries to figure out how to protect both the team and Coleman, Ernie Denardo runs into his ex-girlfriend, Brenda (Shannon Wilcox), at a bar.  Brenda has some scary people after her because of her unpaid gambling debts.  She tells Denardo that she has money on the next Bulls game.  If the Bulls win by more than ten, her debt will be paid off and then she and Denardo can be together.

The next day, the Bulls are on the verge of winning by 9.  With only a few seconds left in the game, Denardo has the team kick a field goal so that they can win by 12.  Denardo returns to Brenda’s apartment and discovers that she’s gone.  It was all a scam, hatched by Brenda and her real boyfriend.

In tears, Denardo tells TD that he has to quit as coach of the Bulls.

TD argues that Denardo didn’t do anything wrong because he didn’t have money on the game.  TD points out that the field goal unit needed the practice and that the Bulls need as many points as possible to clinch home field advantage in the playoffs.  The episode ends with TD embracing the sobbing Denardo.  Awwww!  Is there nothing an OJ Simpson pep talk can’t fix?

After last week’s bizarre episode, this was a traditional 1st & Ten episode.  This episode served as a reminder of just how bland OJ Simpson was as an actor.  That said, Reid Shelton did a good job as the grief-stricken Denardo and the gambling subplot at least did have a few interesting twists.  By the standards of 1st & Ten, that makes this episode a success.

Shark Week Review: Avalanche Sharks (dir by Scott D. Wheeler)


2012’s Avalanche Sharks takes place during Spring Break.

Woo hoo!  SPRIIIIIIIIING BREAAAAAAAK!  If there’s anything that I truly miss about college, it’s Spring Break!  What do you think about when you think about Spring Break?  You think about the sun,  You think about the days and the nights spent lazily lounging in a bikini.  You think about the binge-drinking and the drug-taking and one night stands that you regret the next morning and the realization that you’re only young once.

Avalanche Sharks has all of that.  It also has a lot of snow and also sharks.

SHARK BREAK!  Woo hoo!

These aren’t any old sharks.  These are ghost sharks that swim around in the snow and which pop out to eat the employees and guests of a ski resort.  You may be asking yourself how a shark can swim in the snow and I’m not totally sure myself.  It probably helps that they’re ghost sharks and not living sharks.  Still, it seems like even a ghost shark would prefer the ocean.  The film suggests that the sharks are the result of an ancient curse.  It also suggests that the sharks are the result of global warming.  I’m going to guess that it’s a combination.  The ancient curse was reactivated by global warming.  Either that or the ghost sharks escaped from a lab and there’s been a massive cover-up to try to keep people from discovering the truth.  But, seriously, when has that ever happened?

The movie features the usual collection of characters whose names you will struggle to remember after the movie ends.  (I struggled to remember them even before the movie ended.)  It’s Spring Break, after all!  Why go to the beach when you can just go to a ski resort and apparently spend several days sitting in a jacuzzi?  The jacuzzi is a major location in this film and it’s also the film’s excuse to feature bikinis.  Myself, I couldn’t help but notice that the characters who got in the jacuzzi apparently never got out, even to sleep.  72 hours in a jacuzzi is something you might do to win a car but it’s not necessarily a good idea when there are ghost sharks around.

“You are the sexiest Marine biologist I know,” one guy says at one point and that’s pretty much sets the standard for the film’s dialogue.  The movie is quickly divided between those who know about the avalanche sharks and those who don’t but, to the film’s credit, knowledge does not equal safety.  Just about anyone can and will get eaten by the sharks.  Some of the gore is a bit icky.  The start of the film features a skier suffering a rather serious injury and I briefly had to hide my eyes.  That said, it also appears that the gore budget was used up early because the later effects aren’t quite as impressive.  What is impressive is the performance of James Ouimet as crazy old Duffy.  Duffy is the one who tells everyone that they’re doomed.  He seeks revenge after losing his dog to the sharks.  “LUNA!” he yells and you totally buy it.

As my friend Jim put it, this is a film the defies a traditional rating.  Yes, it would be easy to dismiss it as being another shark movie but, at the same time, it’s so stupidly entertaining that you can’t help but watch.  Someone somewhere once said, “Give them snow sharks!” and this film delivered.  And for that, I say thank you.

 

Retro Television Review: The Love Boat 8.4 “Ace Meets the Champ/Why Justin Can’t Read/Call Me a Doctor”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986!  The series can be streamed on Paramount Plus!

Come aboard, we’re expecting you!

Episode 8.4 “Ace Meets the Champ/Why Justin Can’t Read/Call Me a Doctor”

(Dir by Robert Scheerer, originally aired on October 6th, 1994)

Malcolm Bosworth (James Noble) boards the ship with his son (Dick Billingsley) and his son’s tutor (Jeannie Wilson).  When both the tutor and Doc Bricker suggest that his son might be struggling academically because he’s dyslexic, Malcolm replies, “My son’s not retarded!”  Booooo, Malcolm, booooo!  In Malcolm’s defense, he comes to see the error of his ways but still, booooo!

Walter Milner (Louis Giambalvo) is a furniture salesman who tells Margo Bush (Tovah Feldshuh) that he’s a doctor.  Margo’s mother (Doris Roberts) really wants her daughter to marry a doctor.  Wow, I bet that will lead to some wacky complications!

Those two stories are both well-handled and feature some likable performances.  James Noble makes Malcolm into a sympathetic figure, even if he is totally incorrect about dyslexia.  But neither one of those stories is the main event.

The main event is Ace and Isaac boxing Ernie Jordan (Dick Butkus).  Ernie is a professional boxer.  Ace and Isaac are not.  Ernie was originally scheduled to take part in an exhibition match for charity but, when his opponent gets sick, it looks like the children’s hospital will just have to close.  Ernie’s publicist, Gaylan (Jennifer Holmes), is a former girlfriend of Ace’s.  She left Ace because she felt he was irresponsible.  Isaac and Gopher decide that the best way for Ace to prove that he isn’t irresponsible would be for him to volunteer to fight a professional boxer.  Ace agrees.  After Isaac writes a poem ridiculing the champ, Ernie declares that he’ll fight both Isaac and Ace at the same time.

Wow, sounds like Ace and Isaac are in a lot of trouble!  Fortunately, for them, Ernie is a nice guy and he throws the fight and pretends to get knocked out.  The children’s hospital is saved, Ernie’s reputation is probably ruined, and Ace proves …. well, I don’t know what Ace proves.  Ace’s goal is to show that he’s not just a rich kid with an easy job but that’s a little bit difficult because he is a rich kid with an easy job.  Ace is the Jack Schlossberg of The Love Boat, just with better hair.  Still, Ace gets a girlfriend for the final five minutes or so of the episode so that’s a good thing.

This episode was pleasant, though it’s hard not to feel that Gopher would have been a more amusing opponent for Ernie Jordan.  Pat Klous still seems to be struggling to fit in with the rest of the cast as Judy.  Still, Isaac’s brief Mohammad Ali impersonation made me smile and Ted McGinley’s hair was perfect.  With this episode, The Love Boat shows its age a little but luckily, our crew is still capable of delivering an enjoyable if not exactly memorable cruse.

 

Brad reviews FALL (2022)!


I’ve never been that afraid of heights, but you’ll never catch me climbing up the side of a mountain or jumping out of a plane. I don’t have that daredevil gene that makes me want to do stuff like that. Back in 2023, our family visited Yellowstone, so we took a ride on the Beartooth Highway that runs through the Rocky Mountains in parts of Wyoming and Montana. As I was driving that gorgeous roadway, I will admit that I became quite “weak in the knees” a few times as I drove near some very steep edges. The more I think about it, I don’t really like heights that much, but I’m willing to deal with them as long as the payoff is awesome and the risk isn’t too crazy.

FALL is one of those movies that takes whatever fear of heights may be lurking beneath our surfaces and forces us to deal with them from the comforts of our own living rooms! I kept looking at my wife because it was hard for me to look at the screen, and my wife kept telling me her palms were sweating. This lady spent a decade as a flight medic, but she was still struggling.

The premise is about as simple as it gets. A year after a devastating mountain climbing tragedy, Becky (Grace Caroline Currey) reluctantly agrees to climb an abandoned 2,000-foot television tower with her thrill-seeking, social-media obsessed best friend Hunter (Virginia Gardner). Once they reach the top, the ladder collapses, leaving them stranded 200 stories above the desert with almost no supplies, no way to call for help, and only some vultures for company. This all happens in the first 30 minutes. For the remainder of the film’s 107-minute running time, the ladies will have to do whatever they can to survive.

The film succeeds because it understands exactly what it wants to be. This isn’t some deep character study about a person’s quest for the rediscovery of peace and happiness after unimaginable pain and suffering. No, this is all about creating tension, and sometimes nauseating tension at that. Every rusty rung and loose screw on the way up foreshadows the characters’ fate. Once they’re stuck at the tiny platform at the top, the camera constantly looks over the edge, forcing us to experience the mind-blowing heights and the growing desperation right alongside the characters. These are the scenes where I had to keep looking away to maintain my own sanity!

As you might imagine, this isn’t the most realistic movie in the world. It’s one of those movies that keeps setting you up to think something good is just about to happen only for things to continue to get worse. Then again, as an audience we know when watching these types of movies that things have to keep going wrong or the movie would be over way too soon. FALL definitely works best if you just go along for the tense ride, without thinking too much about some of the finer points. From that standpoint, I was able to really enjoy the film, even when some of the twists and turns along the way threatened to go too far.

I wasn’t really familiar with their prior work, but Grace Caroline Currey and Virginia Gardner do fine jobs in the lead roles. As the grief-stricken Becky, Currey does the heavy lifting as we see her go from being completely broken, to almost giving up hope, before finally finding the courage and resilience to battle for survival. As the free-spirited, certifiably insane Hunter, Gardner has plenty of enthusiasm and charisma. Once they’re stuck at the top, she also shows a lot of bravery as well. The movie spends almost its entire runtime with these two actresses, so their chemistry has to work, and it does. I’ve always liked Jeffrey Dean Morgan, and it was nice seeing him as Becky’s dad, even though it’s a small role.

One of the best things about movies is that they have the ability to take us places we would never go on our own. Not in a million years would I ever climb the rock cliff of a mountain or a 2000-foot TV tower. But FALL took me up that tower and made me feel something. It made me uncomfortable, it made me a little sick, and it made my hands sweat… and I liked it. And all from the comfort of my own living room.

Scenes I Love: The Sopranos Stage An Intervention


Today would have been the birthday of the late Tony Sirico.  Sirico was a former mob associate who, after serving a term in prison, reinvented himself as an actor.  Because of his background, he was often typecast as gangsters but he also proved himself to be an intelligent performer with perfect comedic timing.  For a lot of us, he will always be remembered for playing Paulie on The Sopranos.

Today scene that I love comes from The Sopranos and it features excellent work from the entire cast, especially Tony Sirico.  In this scene from the 2002 episode “The Strong, Silent Type,” the Sopranos and their associates stage an intervention for Christopher Moltisanti and it goes about as well as you might expect.  In just five minutes, this scenes manages to capture everything that The Sopranos was about, as well as giving each member of the cast a chance to shine.  Since this is Sirico’s birthday, I’ll just recommend that viewers especially watch Paulie’s facial expressions while Adriana reads her letter to Christopher.

4 Shots From 4 Films: Special Clara Bow Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

Happy birthday to my pre-code role model, the amazing Clara Bow!

4 Shots From 4 Clara Bow Films

It (1927, dir by Clarence G. Badger)

Wings (1928, dir by William Wellman)

Dangerous Curves (1929, dir by Lothar Mendes)

Call Her Savage (1932, dir by John Francis Dillon)

 

Glen Hansard, RIP


I woke up to the tragic news that Glen Hansard, lead singer of the Frames and the star of The Commitments and Once, was killed earlier in a motorcycle accident.  He was 56 years old.  In America, he’ll probably always be remembered for his enthusiastic and heartfelt speech after he was on Oscar for Best Original Song.  I’ll always remember him for Once, one of the most wonderful romantic films ever made.  Nearly 20 years after seeing the film, I still listen to the soundtrack.

Glen Hansard, RIP.