This week on Shelf Criticism, we’re trekking deep into the wilderness to examine Grizzly (1976), a film that asks, “What if Jaws, but with a bear?” and answers with a bazooka.

Yes, this unabashed Jaws ripoff swaps the ocean for a national park, a great white for a 2,000-pound prehistoric grizzly, and Quint’s boat for a helicopter that a bear literally swats out of the sky. And somehow, Grizzly still tries to play it straight.

Join Stephen as he breaks down the many, many, many similarities between Spielberg’s classic and this landlocked imitation, marvels at the campy absurdity, and shares some truly ridiculous behind-the-scenes trivia—including how our terrifying monster, Teddy the bear, was really just hoping for a marshmallow.

Plus, in Shelfless Endeavors, Stephen finally made it back to the theater to check out Wolf Man, a film with solid acting, fantastic sound design, and a whole lot of underlighting (because apparently, seeing what’s happening in a horror movie is out of fashion).

So, grab your bear spray—or maybe a bazooka—and join us1 for another episode of Shelf Criticism!

This week on Shelf Criticism, we’re diving headfirst into Alexandre Aja’s 2010 remake of Piranha. It’s a film that combines blood-soaked carnage, 3-D spectacle, and a surprising amount of social commentary—if you know where to look.

Stephen explores how Piranha 3D critiques the exploitative culture of Girls Gone Wild while also indulging in the same excesses it mocks. From the over-the-top gore to its biting satire of voyeurism, this film is as paradoxical as it is entertaining. Along the way, we’ll dig into the film’s connections to Joe Dante’s 1978 original, its deliberate parody of Spring Break debauchery, and the deeper meanings lurking beneath the surface.

Plus, we’ll talk about propeller girl, Derrick Jones’s sleazy empire, and why Steven R. McQueen is cool by default—hint: it’s all in the DNA.

Whether you’re here for the piranhas, the parody, or just the chaos, this episode is one you won’t want to miss. Tune in now to see where Piranha 3D lands on the Shelf.

This week on Shelf Criticism, we’re tearing down the backroads of Southern-fried chaos with Barry Battles’ 2012 neo ... pseudo ... quasi-exploitation flick The Baytown Outlaws. It’s got outlaw brothers, ridiculous gangs, Billy Bob Thornton being menacing, and Eva Longoria playing against type—but does it live up to its grindhouse ambitions, or does it stall out in the dust?

Stephen dives into the film’s messy blend of action and exploitation, its flirtation with problematic imagery, and the fine line it walks between being wild fun and just plain off the rails. From Confederate flags to questionable gang portrayals, this one gets complicated—but don’t worry, there’s still plenty of gunfights and mayhem to unpack.

Plus, Stephen reflects on his own connection to the film, chats about how it almost flirts with greatness, and of course, makes the final call on where this chaotic ride lands on the Shelf.

Strap in, folks. Next stop: The Baytown Outlaws.

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In this episode of Shelf Criticism, Stephen returns to his trash cinema sweet spot as we wade through the surreal swamp of Tobe Hooper’s Eaten Alive. Crocodiles, scythes, and a cacophony of chaos await as Stephen explores this bizarre 1976 hicksploitation horror. From Judd’s motiveless madness to the film’s infamous censorship history, it’s a fever dream worth interpreting. Delve into the murky depths of nihilism—just don’t blame the croc.

In the third installment of Shelf Christmas-ism, Stephen unpacks the chaotic, campy, and utterly unforgettable Gremlins (1984). From adorable Mogwai to mischievous monsters, this Joe Dante-directed classic walks the line between horror and hilarity, offering biting critiques of consumerism, nods to Hollywood classics, and more Christmas chaos than you can shake a candy cane at.

Join Stephen as he dives into the film’s zany tone, explores its surprising depth (yes, there’s a Marxist critique of consumerism in there), and revisits the infamous Santa speech that nearly derailed Christmas for countless kids. Along the way, he shares his own childhood memories of Gremlins—including a stuffed Gizmo and Hardee’s book promotions—and takes a critical look at the performances, the enduring appeal, and the undeniable flaws of this holiday creature feature.

Is Gremlins a Top Shelf Christmas movie, or does it belong with the fruitcakes and re-gifted socks? Tune in to find out!

In the second installment of Shelf Christmas-ism, Stephen dives headfirst into the sugar-coated world of Elf (2003). Does Will Ferrell’s relentless enthusiasm and Buddy’s saccharine innocence melt Stephen’s frosty exterior? (Spoiler: Nope.) Along the way, we explore forced perspective, syrup-drenched humor, and why Zooey Deschanel’s voice is a gift to humankind. Stick around for critiques, trivia, and Stephen’s attempt to figure out why Elf is considered a modern Christmas classic. Plus, in this episode’s Shelfless Endeavors, Stephen shares his snap review of The Lord of the Rings: The War of the Rohirrim—a film that proves Middle Earth doesn’t always strike gold.

Welcome to Season 2 of Shelf Criticism—or should we say Shelf Christmas-ism! This month, Stephen explores the holiday films gathering dust on his DVD shelves, starting with Nancy Meyers’ The Holiday (2006).

In this episode, he breaks down the film’s star-studded cast (Kate Winslet, Cameron Diaz, Jude Law, Jack Black) and explores its picturesque settings, predictable plot, and rom-com tropes. Along the way, he asks: Does the film deserve its reputation as a holiday classic, or is it just a shiny, featureless ornament on the Christmas tree of cinema?

He also touches on some behind-the-scenes trivia, including the surprising inspiration behind Jack Black’s role and an unplanned cameo by Dustin Hoffman. Plus, we introduce a brand-new segment: Shelfless Endeavors, where Stephen offers snap takes on buzzworthy films currently playing or streaming. This week, he tackles Werewolves and Gladiator II—because yes, there are fricking sharks in the Colosseum.

So grab a cup of cocoa, settle in, and join us as we figure out whether The Holiday is worthy of an upper shelf or destined for the rotgut at the bottom. Spoiler: Kate Winslet and Jude Law deserve better.

Grab your daiquiris and power drills! the Owls are back for a night of synth-soaked screams and feminist subtext. Stephen and McKenzie turn their gaze (and talons) toward Amy Holden Jones’s The Slumber Party Massacre, the Roger Corman–produced cult classic that manages to be both sleazy and strangely self-aware.

They dissect the world’s least convincing basketball scene, two hapless Peeping Toms who get exactly what they deserve, and a killer who wields his drill like a Freudian thesis statement. McKenzie highlights how the film’s female characters, from Trish and Valerie to Coach Jana, emerge surprisingly competent, kind, and capable in a genre that usually punishes them for existing.

Come for the feminist analysis, stay for the snail-smashing neighbor, and the longest shower scene this side of Psycho..

Theme music: “City of Neon Lights” by Turtle Beats

Produced by: Mordecai Myles for Owls of Pallas Productions