Everything’s Goin’ Great Right?
Here’s to a Super 2026

Glass Eye Pix turned 40 Years Old on Nov 2nd 2025
we hope to be celebrating all 2026 right on up til we turn 41!

2025 Highlights

Release of the 4th full length Album from Just Desserts entitled CURTAINS
Look for airplay and gigs in February

Tales From Beyond The Pale is Baaaaack with its 6th Season
New Episodes drops 2nd Thursday of every month

Fessenden appears in year’s horror favorite GOOD BOY

James Siewert’s epic music video of Just Desserts song Tender drops

GEP launches new Video Label in collaboration with OCN
First Titles include AUTOMATONS, I CAN SEE YOU and SATAN HATES YOU
more on the horizon!

Vinegar Syndrome releases delux 4K versions of Fessenden Catalogue:
NO TELLING, HABIT, WENDIGO, THE LAST WINTER, DEPRAVED
with more to come

Fessenden wraps photography on TRAUMA OR, MONSTERS ALL…
COMING SOON

Thanks for for all the support. Good Luck in 2026

From Terry Sherwood at Film Threat: Crumb Catcher takes a premise that sounds like a lost sitcom pitch and plays it in a social nightmare of obligation. Written and directed by Chris Skotchdopole, from a story by Skotchdopole, Larry Fessenden, and Rigo Garay, the picture begins with newlyweds Shane (Rigo Garay) and Leah (Ella Rae Peck) at their reception, being photographed.   The dialogue between them and others is on the edge of an argument and underlying tensions of the moment. The same mood in the drive to the honeymoon cottage, where it’s one learns that Shame is a writer and Leah is his publisher. Shane’s past is filled with childhood trauma from his family. There is some trouble with the wedding cake during the reception, and Shane fails to thank her mother for the reception, which he did not care for in the first place, as he wanted to elope.

Later on, Shane wakes up the morning after his wedding with a headache and zero memory of the previous night. Worse: an envelope containing the wedding guests’ cash gifts is empty. The situation changes when he receives a text from a woman named Rose (Lorraine Farris) hinting that the two of them got intimate. Shane’s confusion is matched only by Leah’s determination to ignore anything that might spoil their honeymoon. So off they go to their getaway: a posh, secluded woodland home supplied by Leah’s boss, where all is quiet, tasteful, pristine. A perfect location for things to go wrong, and they do.

A late-night knock at the door interrupts their attempt at newlywed fun and games.  Standing outside is John (John Speredakos), the odd, overly friendly caterer from the wedding the night before, who made remarks about Shane’s used car.  He claims he brought the missing wedding cake topper. John initiates himself into their home, has a glass of water, puts it down on a table, ignoring a coaster that irritates Leah.  He drones on about absurd details when he finally reveals he’s also come to pitch a device he invented, which is a bizarre contraption called the “crumb catcher.” It turns out to be a sort of handheld vacuum designed to sweep table crumbs into a funnel. He insists Shane and Leah sit for a full presentation. Then the truth detonates: Rose is John’s wife, and she’s the same woman who texted Shane. She has a video of the alleged encounter. If Shane doesn’t invest in John’s crumb-collecting dream machine, the video goes straight to Leah. It’s blackmail with a smile that only gets more deranged as the night progresses.

Speredakos is a bull in a China shop throughout Crumb Catcher. He’s huge, sweaty, oblivious, clumsy, with the temperamental volatility. The man adds menace to each of his lines. He makes every stumble, every loud gesture, every sudden turn feel like an accidental tragedy waiting to explode. Peck’s performance always hints that her character’s exhaustion is something they are resigned to, a sort of grasping at “crumbs”  to live on. Shane and Leah are the “normal” ones. Leah responds logically, sharply, almost icily. Shane, however, is a frustrating mystery. Garay internalizes guilt instead of suspicion.

Skotchdopole uses the Hitchcock metaphor of creating suspense when showing a conversation between people, with the audience knowing there is a bomb under the table to solid effect. Leah notices John’s weapon right away. Much like the aformentione master, the filmmaker also infuses humor. The comedy arises not from punchlines but from the horrible social bind of being too polite to throw an intruder out of your home, much like Who’s Afraid of Virginia Woolf. It’s a nightmare built entirely from the dread of not wanting to be rude, which itself is interesting because social media is filled with people who are rude continually to the point of hate. This is hugely similar to Duncan Birmingham’s Who Invited Them which is about a married couple who have a housewarming party to show off to their colleagues and superiors. When the guests have already left, the hosts suddenly discover an unfamiliar couple in the house who enter their lives.

Visually, Crumb Catcher leans into disorientation. Drunken POV effects distort the frame. The film is largely confined to the house, giving it a theatrical feel. The editing keeps the action going well, even the car chase towards the end is well-handled. The picture is a wonderful example of social horror, fear of strangers who are not what they seem, worth a look for the production values well used, and the committed actors.

Visit Film Threat HERE

Gather around the fireplace on this cozy night and stream
Glenn McQuaid’s I SELL THE DEAD on AMC Plus.

Fessenden featured in this seasonal delight from
Fall On Your Sword, AKA Will Bates,
composer on recent Fessenden Flix BENEATH, DEPRAVED and BLACKOUT.

Today we mourn the passing of James Ransone who decided to check out early from this mortal coil. Ransone is known for THE WIRE, SINISTER, BLACK PHONE, IT PT 2, as well as Ti West’s IN A VALLEY OF VIOLENCE (seen above on set playing with canine star Jumpy the Dog) with Toby Huss, John Travolta and Ethan Hawk. Films are such a bonding experience, you feel you’ll know each other for ever.

In memoriam we highlight the fine performance he contributed to a TALES FROM BEYOND THE PALE: “Natural Selection” also featuring Billy Boyd, Dominic Monaghan and Pat Healy (seen above with Fessenden during the LA recording, Ransone on right).

Rest in Peace, Ransone, hope you’ve found some now.
Deep sympathy to those left behind.
Hard times.

TBT 2008, A.J. Bowen, Mary Woronov, Jocelin Donahue, Tom Noonan, Greta Gerwig
and writer / director Ti West on set of THE HOUSE OF THE DEVIL.

Get the Steelcase Edition Blu-Ray from Dark Sky Selects,
the perfect stocking stuffer.

Now for sale at Vinegar Syndrome, Film Desk and Elara Pictures presents
Richard Sandler’s THE GODS OF TIMES SQUARE,
a  Glass Eye Pix and Scorpio Dogs production.

Shot on video over six years in the mid-1990s by legendary photographer Richard Sandler, The Gods of Times Square is a portrait of the “Crossroads of the World” at the end of the millennium, told through the words of its denizens, particularly the various street preachers that populated every corner.  Now over twenty five years since its transformation to the unrecognizable, the Times Square known for generations only exists in memory and dreams, one of many treasured, vanquished New York demimondes. The Gods of Times Square is now available in an extended version through the auspices of Josh Safdie, Elara Pictures and The Film Desk.

The Film Desk is a theatrical and disc distributor founded in 2007 by Jake Perlin, dedicated to releasing masterpieces of international cinema, with a focus on titles never before released in the United States, or long out of circulation, primarily in new 35mm prints.

Packed with special features including 6 films from Richard Sandler and a
booklet with an interview by Fessenden and critic/author Ed Halter.
BUY NOW!