Review: ‘The Speedway Murders,’ starring Essie Randles, Nya Cofie, Davida McKenzie and Jo Cumpston

June 21, 2024

by Carla Hay

Theresa Jeffries in “The Speedway Murders” (Photo courtesy of Vertical)

“The Speedway Murders”

Directed by Adam Kamien and Luke Rynderman

Culture Representation: The documentary film “The Speedway Murders” features a predominantly white group of people (with a few black people) who are connected in some way to the Burger Chef murders, a notorious unsolved case about the abductions and murders of four employees of a Burger Chef restaurant in Speedway, Indiana, in 1978.

Culture Clash: People have different theories about who committed these crimes.

Culture Audience: “The Speedway Murders” will appeal primarily to people who are interested in true crime documentaries about unsolved mysteries, but the documentary’s quality and credibility are significantly lowered by excessive use of scripted scenes depicting the ghosts of the murder victims.

Essie Randles, Jo Cumpston, Davida McKenzie and Nya Cofie in “The Speedway Murders” (Photo courtesy of Vertical)

The true crime documentary “The Speedway Murders” has a good mix of interviews about the 1978 Burger Chef murders in Speedway, Indiana. But the movie is ruined by tacky drama scenes of the murder victims as ghosts trying to solve their own murders. Many documentaries have dramatic re-enactments. However, it’s just downright exploitative for a documentary to fabricate dramatic scenes that speculate what the murder victims would say and do after they died. These “ghost” scenes do not help the real-life investigation of this unsolved case. And they certainly don’t help the victims’ loved ones.

Directed by Adam Kamien and Luke Rynderman, “The Speedway Murders” would have been sufficient without these unnecessary ghost scenes. When these ghost scenes show up (and they are about half of the movie), they are utterly distracting and diminish the impact of the compelling interviews in the film. “The Speedway Murders,” which is a production from Australia, filmed these dramatic scenes in Australia with cast members who are from Australia or New Zealand but are portraying Americans. The interview scenes with non-actors were filmed mostly in Indiana.

Perhaps “The Speedway Murders” filmmakers wanted to do something different in a true crime documentary by having these ghost scenes. However, it comes across as tone-deaf filmmaking where it looks like the filmmakers spent more time on the movie’s production/set design and writing the screenplay’s fictional dialogue for the “ghost” characters than doing any real investigative journalism. The documentary offers one “bombshell” interview at the every end. But considering that many of the so-called witnesses who are interviewed in the documentary are admittedly shady people with a history of lying and criminal activities, viewers can have a lot of skepticism about who is credible.

The facts of the Burger Chef murders are retold at the beginning of the documentary. On November 17, 1978, the Burger Chef (a fast-food restaurant) in Speedway was found unlocked and unattended late at night when the restaurant was supposed to be closed and locked up. The safe in the restaurant’s back room was open, in what looked like an apparent robbery. The four Burger Chef employees who were supposed to close the restaurant were missing and found murdered about 20 miles away in a wooded area in nearby Johnson County on November 19, 1978.

The murdered Burger Chef employees were 20-year-old Jayne Friedt, the assistant manager of the restaurant, who died by stabbing; 17-year-old Ruth Ellen Shelton, who died by gun shooting; 16-year-old Daniel “Danny” Davis, who died by gun shooting; and 16-year-old Mark Flemmonds, who was beaten to death. Some reports have listed Shelton’s age as 18 at the time these kidnapping and murders happened. But her younger sister Theresa Jeffries, who is interviewed in “The Speedway Murders,” says that Shelton was 17 and one month away from turning 18 at the time the crime happened.

In “The Speedway Murders” scripted dramatic scenes, Friedt is portrayed by Essie Randles; Shelton is portrayed by Davida McKenzie; Davis is portrayed by Jo Cumpston (also known a Joseph Zada); and Flemmonds is portrayed by Nya Cofie. Other cast members are in re-enactments portraying various witnesses or persons of interest. The cast members depicting the murder victims have more screen time than anyone else, which is probably why the movie’s marketing materials list them as the stars of the movie. The “ghosts” of the murder victims are only seen at the movie’s reconstruction of the Burger Chef restaurant that was the scene of the crime.

Friedt is depicted as the feisty and outspoken one in the group. Shelton is shown as introverted and somewhat nerdy. Davis is portrayed as a generic regular guy. Flemmonds’ personality is presented as amiable and fun-loving. The cast members in these roles have credible American accents and give adequate performances, but the dialogue they’re given in this movie is often cringeworthy. For example, there’s a scene where the ghost of Friedt exclaims: “I’m not just a footnote in a murder mystery … I’m me!”

A major problem with the real-life investigation is that when police showed up at the scene in the early-morning hours of November 18, 1978, they thought that the restaurant was left unlocked and unattended by irresponsible employees and did not think that the missing employees had been kidnapped—even though worried family members of the employees had reported them missing. The police let other Burger Chef employees clean up the restaurant so that it could be open for business, not knowing at the time that the restaurant was a crime scene. Therefore, valuable evidence was destroyed, thrown away or contaminated.

“The Speedway Murders” has interviews with four current or former police detectives with close knowledge of the case: Todd McComas, a retired Indiana state police detective who was assigned the case in 1998; James Cramer, a retired Indiana state police detective who was the lead investigator on the case continuously from 1981 to 1986 and intermittently from 1986 to 1999, the year he retired; Mel Willsey, a captain of Indiana’s Marion County Sheriff’s Office, Criminal Division, who joined the case in the mid-1980s; and Bill Dalton, an Indiana state police sergeant who is currently the lead investigator of the case.

Dalton is the police investigator who has the least to say in the documentary and only offers vague commentary, such as he thinks it’s still possible for the case to be solved. Dalton comments, “I’m chasing answers … for [the victims’] family members. They deserve closure.” It looks like the “Speedway Murder” filmmakers were only able to get brief comments from Dalton at a press conference where Jeffries and Dalton were two of the speakers.

Cramer is the former police investigator who is shown the most in the documentary. He responds to accusations that the original team of investigating police re-staged the crime scene in crime scene photos, in order to cover up the police’s major blunder of letting the crime scene be cleaned, thereby ruining or disposing of crucial evidence. Cramer says, “I don’t know if I would characterize it as re-staging. All I know it was an attempt to pass off photographs as if [they] were actual crime scene photos.”

Cramer adds, “It became common knowledge amongst all the investigators that the crime scene wasn’t handled properly … There should’ve been pictures, fingerprints. People should’ve been interviewed—witnesses and so forth. I don’t believe much was done.”

McComas is the former investigator who is the most adamant in saying his theory of who committed these horrific murders. The documentary does a fairly good job of laying out and explaining four of the most popular theories about who the culprits are. Almost everyone with a theory believes that there was more than one culprit who kidnapped the murder victims from Burger Chef.

Most of the theories and witness statements mention two unidentified white men in their 20s as the most likely perpetrators. One man (described as the “leader”) was about 5’8″ with dark hair and a beard. The other man (the less talkative one) was described as younger, taller (about 6 feet tall, give or take a few inches), dark-haired and clean-shaven. The culprits were widely believed to be driving a van (witnesses can’t agree on the color of the van) when they arrived at the restaurant. This van was also believed to be the same vehicle that the Burger Chef employees were forced into during the kidnappings.

On the night of the Burger Chef kidnappings, two men who fit these descriptions approached witnesses Mary Rhines and George Nichols (who were dating each other at the time) in the Burger Chef parking lot. Rhines and Nichols, who are interviewed in “The Speedway Murders,” say that they were smoking marijuana in the Burger Chef parking lot when they were approached by the two men, close to the time that the kidnappings were believed to have occurred. The man with the beard was the only one who spoke to Rhines and Nichols, and he told them to leave because some young people had gotten busted for committing vandalism at that same restaurant. Rhines and Nichols left because they didn’t want to get in trouble for smoking marijuana.

Here are the theories presented in “The Speedway Murders” documentary:

The Robber Gang Theory: Prior to the murders, a group of armed robbers had been stealing money and other valuables from several Burger Chef locations in Indiana. S.W. Wilkins and Gregg Steinke, two men who confessed to the robberies and spent time in prison for these crimes, have denied any involvement in the Burger Chef murders. However, McComas is certain that Wilkins and Steinke are the most likely suspects for the Burger Chef murders because they fit the witness descriptions of the two men seen in the parking lot before the kidnappings happened. McComas says that Wilkins and Steinke also lived in Johnson County near the rural area where the murder victims’ bodies were found.

The Don Forrester Theory: On January 9, 1989, Indiana prison inmate Don Forrester (a convicted rapist) gave a videotaped confession to police by saying that he helped in the kidnapping of the Burger Chef employees by hustling them into the van. Forrester did not name the other culprits, but he said they were all under the influence of drugs at the time. Forrester said he killed Davis and Shelton and gave details of the crime scene. It was later proven that Forrester could’ve gotten those details from crime scene photos that he saw in the police station where he was interrogated. In his confession, he said that Jayne Friedt was the main target of the kidnapping because she owed $15,000 related to cocaine deals. Jayne’s brother James “Jimmy” Friedt was a convicted drug dealer, and Forrester said that Jayne was mixed up in drug dealing too. Willsey believes this theory, but admits that Forrester (who died of cancer in 2006) had questionable credibility because Forrester changed/recanted his story many times and failed multiple polygraph tests about this confession.

The Speedway Bomber Theory: During a six-day period, beginning in early September 1978, bombs were detonated in various parts of Speedway. Brett Kimberlin was eventually convicted of the bombings and spent 15 years in prison for it. No one died in the bombings, but a man named Carl DeLong had to have one of his legs amputated because of a bomb injury, and he committed suicide in 1983. The theory is that the bomber was also involved in the Burger Chef murders. Kimberlin, who is interviewed in the documentary, denies anything to do with the bombings, the Burger Chef kidnappings/murders, or his suspected involvement in the 1978 murder of Julia Scyphers, who was the mother of Kimberlin’s girlfriend at the time. Kimberlin will only admit that in 1978, he was definitely a marijuana dealer. He describes any reports that he’s a bomber, kidnapper or murderer as “fake news.”

The Jeff Reed/Tim Willoughby Theory: Allen Pruitt, a mechanic who spent time in the same prison as Jimmy Friedt, claims that the Burger Chef murders happened because of a drug deal gone wrong. Pruitt (who died in 2022) is interviewed in the documentary. In his documentary interview, Pruitt says that a drug dealer named Jeff Reed had a dispute with Jimmy Friedt over drug dealing issues, and Jayne Friedt was involved because she was allowing this Burger Chef location to be used as a transaction location for Jimmy Friedt’s drug deals. Pruitt says on the night of the Burger Chef kidnappings, he saw Reed force Flemmonds, Shelton and Davis into Reed’s van in the parking lot of the restaurant, and Reed’s friend Tim Willoughby (also a known drug dealer) was nearby having an argument with Jayne Friedt. Pruitt said he saw the van drive off but didn’t think at the time that anyone had been kidnapped. Pruitt (who says he gave this information to police years ago) states emphatically that Reed and Willoughby committed the Burger Chef kidnappings and murders, based on what Pruitt says that he saw that night.

One of the problems with this theory is that Willoughby (who was clean-shaven and slightly resembled the clean-shaven mystery man in the Burger Chef parking lot that night) is believed to have gone missing before the Burger Chef murders. Willoughby was reported as last seen in June 1978. He has never been found. The reason for his disappearance—as well as the possibility that Willoughby could have still be alive in November 1978—remain unknown. Another problem is that Pruitt admits that he was very intoxicated when he saw Reed, Willoughby and the Burger Chef employees on the night of the kidnappings. Pruitt’s impaired state of mind makes Pruitt a less credible witness than if he had been clean and sober at the time he says he saw the suspicious activity that night.

The documentary also includes a more compelling interview with Tim Boyer, who was a friend of Reed’s in a clique they called the Riff Raff Social Club, which had Reed as the unofficial leader. Reed and his van matched the descriptions from witnesses who say they saw a bearded man in the Burger Chef parking lot close to the time that the kidnappings were believed to have taken place. Boyer says in the documentary that in 1978, not long after the Burger Chef Murders, Reed confessed to Boyer that he and Willoughby committed the crimes. Boyer also claims that Reed told incriminating details to Boyer as proof.

According to Boyer, this is what happened: Reed and Willoughby went to the Burger Chef restaurant to rob the place, but victim Flemmonds saw the intruders and confronted them in a back room. The criminals assaulted Flemmonds, possibly knocking him unconscious. The other three Burger Chef employees also saw a crime taking place, so all four were kidnapped and murdered because the employees were witnesses.

Boyer said he kept this secret for decades because he didn’t want to be a snitch. In the documentary, former police investigator Cramer seems to think this is the strongest theory of what happened in the Burger Chef murder case, but since there’s no proof, it’s unlikely this case will ever be solved. Reed, who died in 2011, was never formally interviewed by police about this case. Cramer said he once informally confronted Reed about the Burger Chef kidnapping/murder case in an unnamed year after Reed had been arrested and was out on bail for an unrelated case. Cramer says that in this conversation, Reed did not make any comments when asked if Reed was involved in the Burger Chef kidnapping/murder case.

“The Speedway Murders” also has interviews with Russ McQuaid, a reporter for Indianapolis TV station WXIN/Fox 59; true crime podcaster Chris Davis; a man named Charlie (no last name is given), who says he was Jayne Friedt’s boyfriend in 1978; Kirk Thompson, a friend of Flemmonds’ who had plans to meet up with him after Flemmonds’ work shift ended that night; Ginger Anthony, a Burger Chef employee who asked Flemmonds to substitute for her that night because she wanted to go on a date with someone; Norma Davis, the mother of Daniel Davis; David Brosman, a Speedway bombing witness; and Jean Bland, a witness who claims to have seen a man forcing the Burger Chef employees into a van, although she admits she never saw the front of the man’s face.

Jeffries is given a small amount of screen time to talk about her murdered sister. Thompson says that he and Flemmonds liked to hang out at a youth-oriented nightclub called the Galaxy, which allowed people under the age of 21. There’s a clip of an archival TV interview with Robert Flemmonds (Mark Flemmonds’ father) where he mentions that Jayne Friedt told him that Mark was like her “protector” on the job. Norma Davis says her son Daniel called her earlier that evening to tell her that he was asked to help close the restaurant and he would be working later than usual that night.

Almost all of these interviewees have something interesting to say. It’s too bad that “The Speedway Murders” filmmakers chose to waste so much screen time on cheesy re-enactments (including the obligatory slow-motion shots) and outright fabricated dialogue of the murder victims discussing and debating various theories about their own murders. Not surprisingly, the “ghost” of Jayne Friedt vehemently denies she was involved in drug dealing.

In an interview for this documentary, Jeffries says that too often in media coverage about murders, the victims don’t get as much coverage as the suspected or convicted killers. “The Speedway Murders” is certainly guilty of that too. Despite spending an offensive amount of time on scenes showing actors portraying ghosts of the murder victims, these drama scenes and the rest of the movie tell almost no details about these victims before their lives were cruelly taken away.

What were the hopes and dreams of these murder victims? What were some of the most memorable things that they did when they were alive? Who were the people who were most important to them? Don’t expect the documentary to answer these questions. Instead of offering more insight into who the murder victims were, “The Speedway Murders” gives way too much screen time to showing these murder victims as babbling ghosts who’ve returned to the scene of the crime.

And if you’re still not sure that this misguided documentary is like a slap in the face to the victims and their loved ones, then the last scene in the film removes all doubt. This final scene is obviously manipulative and intended to make viewers cry by showing a “what if” scenario speculating what would’ve happened if the victims hadn’t been kidnapped and murdered that night. Simply put: “The Speedway Murders” is shameless exploitation of murder victims. If people want to know more about this tragic case, there are much better resources—including Investigation Discovery’s 2022 documentary “Murders at the Burger Joint,” which has been renamed “The Burger Chef Murders”—that have information without exploiting the victims.

Vertical released “The Speedway Murders” in select U.S. cinemas, on digital and on VOD on June 21, 2024.

Review: ‘I Still Believe,’ starring KJ Apa, Britt Robertson, Shania Twain and Gary Sinise

March 13, 2020

by Carla Hay

KJ Apa and Britt Robertson in "I Still Believe"
KJ Apa and Britt Robertson in “I Still Believe” (Photo by Jason LaVeris)

“I Still Believe”

Directed by Jon Erwin and Andrew Erwin (The Erwin Brothers)

Culture Representation: Taking place mostly in California and partially in Indiana, the faith-based drama “I Still Believe” has almost an exclusively white cast representing the middle-class (with a few African and Latinos in minor speaking roles) and has a story based on the real-life contemporary Christian singer Jeremy Camp at the beginning of his career.

Culture Clash: During his first year in college, Jeremy gets involved in a love triangle with a young woman who finds out that she has cancer.

Culture Audience: This movie will appeal mostly to fans of Jeremy Camp and anyone who likes predictable, tear-jerking, faith-based movies.

KJ Apa and Britt Robertson in “I Still Believe” (Photo by Michael Kubeisy)

Bring on the Christian melodrama. “I Still Believe,” which tells the story of how real-life contemporary Christian singer Jeremy Camp met and fell in love with his first wife Melissa, has enough weepy and sentimental moments to make a Hallmark Channel movie look downright cheerful in comparison. Because this dramatic film is based on true events that fans of Camp already know about (he’s written songs about it and done numerous interviews over the years about this period of time in his life), there really isn’t anything new that will be revealed here for his die-hard fans.

However, for everyone else, there are many indications of how this movie will go, from the cutesy lovebird moments to the emotionally distraught hospital scenes. “I Still Believe” is based on Camp’s 2011 memoir of the same name. Brother directors Jon Erwin and Andrew Erwin directed the movie (they also directed the 2018 biopic “I Can Only Imagine” about MercyMe singer Bart Millard), while Jon Erwin co-wrote the “I Still Believe” screenplay with Jon Gunn.

As the story begins, it’s September 1999 in Lafayette, Indiana (Camp’s hometown), and Jeremy (played winningly by a charismatic KJ Apa) is packing up his car to leave behind his supportive and loving parents and two younger brothers, as he heads off to California to attend college for the first time. (The college isn’t named in the movie, but in real life, Camp attended and graduated from Calvary Chapel Bible College in Murrieta, California.)

Before Jeremy leaves, his parents Tom Camp (played by Gary Sinise) and Teri Camp (played by Shania Twain) give him a brand-new guitar as a gift. They know he’s a talented singer and musician, so they’re encouraging him to use that talent in the best way that he can. (It should be noted that Sinise and Twain are in the movie for only about 20 minutes, since most of the story takes place when Jeremy was a college student in California.)

One of the first things that happens when Jeremy arrives on campus is he meets a personal hero: Jean-Luc (played by Nathan Dean), a French Canadian contemporary Christian singer who graduated from the school years earlier and has returned to do a concert on campus. Because Jean-Luc has “made it” as a successful artist, Jeremy approaches him backstage before the show to tell Jean-Luc how much he admires him and to ask for his career advice.

Jean-Luc tells him the best advice he could give is that being an artist isn’t about “making it” but what an artist’s songs give to people. Jean-Luc also tells Jeremy that songwriting is about authenticity. He confides in Jeremy that he’s been writing love songs lately with a special girl in mind.

To Jeremy’s surprise and delight, Jean-Luc then asks Jeremy to tune his guitar. The next thing you know, Jeremy is an instant guitar tech who gets to go on stage and hand Jean-Luc the guitar when it’s time for Jean-Luc to switch instruments. While giving Jean-Luc the guitar, Jeremy sees a pretty young student in the crowd who seems enraptured as she sings along to the music. And then she and Jeremy lock eyes with each other. It’s a “love at first sight” moment for Jeremy that is as sweetly sentimental as you would imagine it to be.

Jeremy is so smitten that when he sees her hanging out in the theater after the show, he goes up and introduces himself to her. They have a cautiously flirtatious conversation. Her name is Melissa Henning (played by Britt Robertson, in an emotionally believable performance), and she invites Jeremy to hang out with her and some friends at the beach after the show.

It turns out that Melissa is a close friend of Jean-Luc, who’s also there at the beach, to Jeremy’s surprise. Melissa is so close to Jean-Luc that she says that she and Jean-Luc are “best friends.” As Jeremy lets this information sink in (and it becomes obvious that this is the “special girl” that Jean-Luc is writing love songs about), he still tries to figure out a way to date Melissa.

At the beach, Jeremy has brought his guitar, so that’s how Melissa first finds out that he can sing and play. And since she seems to have a thing for musicians, Jeremy’s talent probably makes him even more attractive to her. She plays it cool, but her reaction to him singing and playing shows how much Jeremy has piqued her interest. (Apa does his own singing in the movie. And he’s pretty good.)

When Jeremy is alone with Melissa, he asks her point-blank if she and Jean-Luc are dating. She says no, but she admits that Jean-Luc might have romantic feelings for her that aren’t mutual. Jeremy doesn’t waste time in expressing that he’s available and interested in dating Melissa, but she tells him that she promised God and her protective older sister Heather that this semester that she wouldn’t have any distractions from her studies and that Jeremy is definitely a distraction.

Undeterred, Jeremy persists in asking Melissa out on a date every time he runs into her on campus, until finally she says yes to one date. She agrees on the condition that she and Jeremy see each other in secret because she doesn’t want to hurt Jean-Luc’s feelings.

On their first date, Melissa and Jeremy go to a planetarium. While in the Hubble Space Telescope room, Melissa turns out to be very knowledgeable about astronomy trivia. After she rattles off some facts about outer space, Melissa says, “I’m just one star in an infinite galaxy.” And Jeremy replies as he looks at her meaningfully, “Well, some stars shine brighter than others.” Yes, it’s that kind of movie.

One date turns into two and then into more dates. And soon, it’s obvious that Jeremy and Melissa have fallen in love, but Melissa still wants to keep their relationship a secret because she’s afraid that it will ruin her friendship with Jean-Luc. This deception bothers Jeremy, but he goes along with it because he doesn’t want to lose Melissa.

Meanwhile, Jean-Luc has been acting as a mentor to Jeremy and has even offered to help Jeremy make a demo recording that could lead to a record-label contract. Jean-Luc has also offered to pass along the demo to the right people to help speed up the process. In other words, this love-triangle situation has turned into something even more complicated than when it started.

According to the movie’s production notes, there was no real-life love triangle between Jeremy, Melissa and Jean-Luc, who is based on real-life French Canadian musician Jean-Luc La Joie, the lead singer of the Christian rock band The Kry. In real life, Jean-Luc and Melissa were just friends, and Jean-Luc really did help Jeremy, early on in Jeremy’s career. But the filmmakers decided to make the Jean-Luc character in the movie as a combination of the real person and the numerous guys who were also pursuing Melissa during the time that she and Jeremy began dating.

Whether or not Jean-Luc finds out about the secret love affair turns out to be the least of Jeremy and Melissa’s problems. Just as Jeremy’s career is taking off, Melissa finds out that she has cancer. The rest of the movie shows how this devastating diagnosis affects their relationship. (And if you know what happened in real life, then you already know how this movie is going to end.)

All of the actors do a fine job with their performances. As the central characters in the film, Apa and Robertson (who also played a young couple in love in 2017’s “A Dog’s Purpose”) have natural chemistry together that makes them convincing as two people who’ve fallen hard and fast for each other. But there are moments in the movie that are so melodramatic and cliché-ridden that they’re downright cringeworthy. And there might be some non-religious people who could be offended at the idea that prayer can cause medical miracles. But this isn’t a movie for atheists or people who don’t like Christian movies. “I Still Believe” will definitely be a crowd-pleaser for the film’s intended audience. For everyone else, proceed with caution or avoid the movie altogether.

Lionsgate released “I Still Believe” in U.S. cinemas on March 13, 2020.

UPDATE: Because of the widespread coronavirus-related closures of movie theaters worldwide, Lionsgate Home Entertainment has moved up the digital and VOD release of “I Still Believe” to March 27, 2020.

2019 Tribeca Film Festival movie review: ‘All I Can Say’

May 2, 2019

by Carla Hay

Shannon Hoon and daughter Nico Blue Hoon in “All I Can Say” (Photo by Shannon Hoon)

“All I Can Say”

Directed by Danny Clinch, Taryn Gould, Colleen Hennessy and Shannon Hoon

World premiere at the Tribeca Film Festival in New York City on April 26, 2019.

The documentary “All I Can Say” gets its title from the first line of “No Rain,” the biggest hit song from Blind Melon, the rock band that released only two studio albums when lead singer Shannon Hoon died of a cocaine overdose in 1995, at the age of 28. Unlike most documentaries, which combine archival footage with new interviews, “All I Can Say” consists entirely of footage that Hoon filmed of his life from 1990 to 1995, the years when Blind Melon existed with Hoon as lead singer. Danny Clinch, Taryn Gould and Colleen Hennessy (who are credited as co-directors) assembled the footage and made it into this film.

The 2019 Tribeca Film Festival has the world premieres of three documentaries about lead singers of rock bands who had untimely, tragic deaths in the 1990s, and all three men left behind a toddler or infant child to grow up without their father. The documentaries are “All I Can Say”; “Sublime” (whose lead singer Bradley Nowell died in 1996 of a heroin overdose); and “Mystify: Michael Hutchence” (about INXS lead singer Michael Hutchence, who committed suicide in 1997). “All I Can Say” is the most unique of this trio of movies, simply because it’s filmed from a first-person perspective with no outside commentary or current footage. There are voiceovers, but they are of interviews that Hoon did during the five-year period in which the documentary footage was filmed.

Almost all of the footage in “All I Can Say” is shown in chronological order, but it begins on a chilling note, with the last footage that Hoon filmed of himself. It shows him in a New Orleans hotel room, talking on the phone to an unidentified person, on October 21, 1995, the day that he died. Before this final footage can be seen in its entirety, the movie then rewinds to 1990, when Hoon was living in Los Angeles as a struggling musician, but also going back home to visit family in Indiana, where he grew up in the suburban cities of Lafayette and Dayton.

It’s clear from these first few scenes that even before he was famous, Hoon was a self-described troublemaking rebel who couldn’t wait to get out of Indiana to become a rock star. He had drug problems and arrests before he moved to Los Angeles to pursue his dream. He also had a high-school sweetheart named Lisa Crouse, who was in a relationship with him during the time all of this footage was filmed.

It was while in Los Angeles that Hoon met the musicians who would become the other members of Blind Melon: lead guitarist Rogers Stevens, rhythm guitarist Christopher Thorn, bassist Brad Smith and drummer Glen Graham. The band’s name was inspired by the nickname that stoner hippies gave themselves in Graham and Smith’s home state of Mississippi. But it was Hoon’s Indiana roots that proved to be a major factor in Blind Melon’s career, because Guns N’Roses lead singer Axl Rose, whose hometown was Lafayette, knew Hoon’s half-sister Anna from high school.

Guns N’Roses was one of the biggest bands in the world at the time, and Hoon became friends with Rose in Los Angeles. Hoon did guest backup vocals on several Guns N’Roses songs (including “Don’t Cry” and “The Garden”) that would be released on Guns N’Roses’ 1991 albums “Use Your Illusion I” and “Use Your Illusion II.” There’s footage in the documentary of Hoon with Guns N’Roses at the Record Plant recording studio in Los Angeles.

Hoon’s prominent appearance in the “Don’t Cry” video catapulted him into the spotlight, and it became the catalyst for a quickie route to Blind Melon signing with Capitol Records, at a time when Blind Melon didn’t even have enough original songs for a showcase. The documentary has footage of Blind Melon recording the band’s 1992 self-titled debut album, including signature tune “No Rain.” There’s also footage of Hoon watching the 1992 Los Angeles riots on TV.

The documentary shows that Hoon’s heavy drug use was ongoing throughout the period of time that this movie was filmed. In one scene, he holds up a bag of psychedelic mushrooms. In other scene, he and Stevens are seen doing cocaine on Mulholland Drive in the Hollywood Hills. In other scene, a coked-out Hoon is talking about being awake for several days. There’s also a hint that Hoon’s substance-abuse problems were probably passed down from a previous generation, since there’s a scene of him on the phone with his father after his father was arrested for DUI.

Blind Melon’s self-titled debut album was a big hit (selling 4 million copies in the U.S. alone), and it remains the band’s best-selling album,  known for the singles “No Rain,” “Tones of Home,” “I Wonder” and “Change.” But that quick success came at a price, because Blind Melon became known as the “bee girl” band, which was an image the band ended up hating. First, the album cover was of drummer Graham’s younger sister Georgia as a child, dressed as a bee when she was in a school play. Then, Blind Melon’s “No Rain” video prominently featured another child—actress Heather DeLoach—dressed in a similar bee costume.

The “No Rain” video, directed by Samuel Bayer (who also directed Nirvana’s iconic “Smells Like Teen Spirit” video), has the concept of a lonely bee girl who is rejected and ridiculed by society until she walks into an open field where she finds that there are other bee people just like her. Blind Melon is shown performing in the field, but “Bee Girl” DeLoach actually ends up being a scene-stealer in the video. For a while, she became a minor celebrity in real life. It’s obvious that the “bee girl” image was starting to annoy the band, because Blind Melon was constantly asked about it in interviews. In one such interview that’s shown in the documentary, Hoon says with an exasperated voice, “The bee is bigger than the band.”

Another major fame-related issue that Blind Melon had was the lead singer got most of the attention—and that didn’t sit well with the rest of the band. (It’s a common issue with most famous bands.) Blind Melon was on the cover of Rolling Stone in 1993 (when being on the cover of Rolling Stone was still a big deal), and the documentary shows how that cover caused a lot of tension in the band behind the scenes. Rolling Stone originally wanted only Hoon on the cover, but the other band members insisted that they be on the cover too.

The documentary shows video footage that Hoon secretly recorded of the band members talking about him when he wasn’t in the room. “All I Can Say” also shows Blind Melon’s photo session for Rolling Stone—all the band members were completely naked—and the cover photo ended up showing Hoon, front and center, in pig-tailed braids. The documentary also shows Stevens’ giddy and happy reaction to seeing the magazine cover for the first time.

“All I Can Say” also shows a mischievous, devil-may-care side to Hoon, such as a scene of him delivering pizza on-stage naked, a scene of him trying to channel the Beatles while walking on London’s famous Abbey Road, and a full-frontal nude scene of him filming himself completely naked in front of a bathroom mirror. There are also a few rock-star diva moments, such as when Hoon taunts a security guard backstage at a concert for some real or perceived conflict. Hoon treats the guard in a condescending manner, essentially saying, “I dare you to pick a fight with me, but you won’t, because I’m untouchable.”

Hoon was arrested for indecent exposure in 1993 for urinating on a fan during a Blind Melon concert in Vancouver, but that footage isn’t in the documentary, although the arrest is briefly mentioned in a TV news report that Hoon filmed. Hoon was also arrested in 1995 in New Orleans for disorderly conduct. That arrest isn’t shown in the movie either.

Since most people watching this movie know how Hoon died, there’s a sense of impending doom when watching “All I Can Say”—and there are plenty of signs that despite the fame and success, Hoon was deeply troubled and immersed in drug addiction. In one scene, he has a spoon that looks like it’s dripping with melted heroin. In another scene, he openly talks about doing smack. Hoon’s drug addiction was well-known to people in the industry and to Blind Melon fans, and he had multiple stints in rehab. The rehab stints are obviously not in the movie, but the documentary includes footage of Hoon getting a message from Pearl Jam guitarist Mike McCready asking for Hoon’s advice on rehab.

Hoon’s emotional turmoil must have also been compounded by a suicide that he and other band members witnessed after one of Blind Melon’s shows at St. Andrews Hall in Detroit, where a woman in her 20s jumped to her death at a nearby hotel. (Blind Melon’s song “St. Andrew’s Fall” on the band’s 1995 second album, “Soup,” is about that horrifying experience.) In the documentary, Hoon is seen confessing that witnessing the suicide was the hardest moment for him in the band.

Other haunting footage is of Hoon watching TV news about the suicide of Nirvana lead singer Kurt Cobain (who died in 1994 at the age of 27), and later commenting about Cobain’s death in an interview: “A lot of people are hurting, including his little girl.” The irony is that one year later, Hoon would also leave his own little girl behind by tragically dying. Hoon and Crouse welcomed their daughter, Nico, on July 11, 1995. The documentary has footage of Hoon finding out he was going to be father, seeing ultrasounds, the birth of Nico, and Hoon being a loving and affectionate father to Nico.

One month after the birth of Nico, Blind Melon’s second album, “Soup,” was released, and it was the band’s sophomore slump. Even though there’s a scene where a band member jokes that Blind Melon isn’t that popular anymore, the band’s big decline in sales was obviously a blow to the band’s confidence. And although Hoon didn’t reveal on camera how this career decline affected him, there’s one scene in the movie that clearly shows how depressed he was.

At home celebrating his 28th birthday, Hoon is seen with Crouse and Nico, who are seated at a table with him. A birthday cake is on the table, and while Crouse is smiling and singing “Happy Birthday,” Hoon sits there sadly, deep in his own thoughts. It’s impossible to know if Hoon’s personal problems or career problems (or both) were weighing him down at that moment, but it’s obvious that being surrounded by his closest loved ones on his birthday wasn’t making him happy.

We’ll never know what Hoon would be doing if he were alive today. Blind Melon’s third album, “Nico,” was released in 1996, and featured songs the band had already recorded with Hoon. After going on hiatus, Blind Melon regrouped in 2006 with new lead singer Travis Warren. But in that five-year period when Hoon experienced his meteoric rise to stardom, we get to see his perspective in “All I Can Say” as a talented but self-destructive person who found out that fame wasn’t the answer to his problems.

Hoon might have escaped from Indiana, but he couldn’t escape from himself. The tragedy is that Hoon left behind a child who didn’t know what it was like to grow up with her father. But at least she can see from this footage that she was adored by him in the short time that he was in her life, and he left behind a musical legacy that affects people who are fans of Blind Melon’s early music.

UPDATE: Oscilloscope Laboratories will release “All I Can Say” in select U.S. virtual cinemas on June 26, 2020.

Kroger temporarily removes pre-cut melons from stores in Michigan and Indiana due to possible health risk

June 8, 2018

The following is a press release from Kroger:

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