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Multi-Chamber Bongs — Overkill or Next-Level Smoothness

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Multi-chamber bongs push the familiar design of a water pipe into new territory, adding layers of filtration that change how smoke cools and feels. Rather than a single pass through water, each chamber introduces its own percolator and airflow pattern, breaking down harshness while reshaping texture. That structural change has stirred debate: are these rigs refined innovations or overbuilt novelties?

Glassmakers experiment with percolator placement, chamber geometry, and reinforced joints to achieve balance, while smokers weigh comfort against upkeep. Some embrace the smoother draws as a meaningful upgrade, while others see fragile complexity that adds more work than reward. Understanding where performance, durability, and daily habits converge makes it easier to judge their actual value.

How Multi-Chamber Bongs Work in Practice

Multi-chamber bongs turn a single inhale into a carefully staged sequence. Each chamber’s percolator boosts surface contact, cooling smoke and filtering particulates, which softens throat impact though sometimes at the cost of flavor. Designs such as tree, honeycomb, or slotted percs control turbulence and resistance, making build quality and layout more important than sheer chamber count.

Draws travel through successive zones where condensation and pressure shifts subtly change texture and airflow. Extra chambers increase resistance and cleaning demands, yet steady, measured pulls unlock the cooling benefits without harshness. Comparing bongs side by side reveals that thoughtful design—not added chambers alone—shapes smoothness, drag, and overall performance.

Benefits That Users Notice Right Away

Stacked chambers change how each inhale feels by cooling smoke through multiple water stages. This process breaks down harshness, turning strong hits into smoother pulls that remain comfortable even across longer sessions. Users often find their throats less irritated and recover faster between draws, which makes extended group smoking or relaxed solo use more enjoyable.

Beyond cooling, additional chambers alter control over intensity. Increased drag slows inhalation, giving users steadier pacing and more consistent flavor across hits. Instead of sudden lung shock, the smoke spreads gently, letting each draw feel measured. This tradeoff often appeals to those who prioritize balance and comfort over quick, forceful inhales.

Tradeoffs That Come With Extra Chambers

Extra chambers bring delicate geometry: tiny percolators, narrow channels, and multiple seals that trap resin and stress joints. When clogs form, airflow falls and hits flatten; removing buildup often needs brushes, soaking, and patience. Heavier assemblies add tipping risk and reduce portability; replacements for specialized percs can be costly.

Casual users may find upkeep outweighs smoother draws, while at-home setups pay off for regular cleaners. Inspect joint diameter, percolator access, and availability of spare parts before choosing. A 30-minute isopropyl soak plus a soft brush and full air-dry keeps percs flowing and extends usable service life, a small habit that makes future choices easier.

Price and Quality Factors to Weigh Before Buying

Sticker shock is common. Simple rigs sell for modest sums while elaborate towers reach premium prices. What drives that spread is craftsmanship, material quality, and functional features—hand-blown borosilicate, thick walls, precision joints, and tested percolators raise price, along with branded warranties and decorative finishes. Compare listed specs and photo details so buyers can make a well-informed choice.

Expect prices to climb for multiple percs, recycler designs, multi-part joint assemblies, and custom detailing. Lab-grade components, tight tolerances, and factory-tested airflow add cost but often smooth performance and longevity. Think about repairability and spare-part availability when weighing value. Consider models with standard joint sizes and replaceable percs for cheaper upkeep.

Choosing Based on Smoking Habits and Lifestyle

Different smoking habits call for different designs, and chamber count should match how you typically use your rig. A compact piece with a single perc and shallow water suits quick, discreet sessions, keeping drag light while preserving flavor. Its smaller frame fits easily into limited storage and favors convenience over complexity, which appeals to casual or occasional smokers.

Longer group sessions benefit from heavier glass and larger chambers, since these handle bigger pulls without tipping or overheating. Smokers with higher tolerance or a preference for dense clouds often choose recyclers or multi-perc towers, which cool larger volumes effectively. Matching joint size to preferred bowls and keeping spare parts ready helps such setups stay reliable during extended use.

The best bong reflects lifestyle as much as design, offering more than complexity for its own sake. Multi-chamber pieces provide smoother, cooler draws that reward frequent users willing to handle added upkeep, while simpler models work better for quick, discreet sessions where convenience takes priority. The choice rests on balancing drag, maintenance, portability, and cost to create a setup that feels practical long term. When features align with habits, a bong becomes more than equipment—it turns into a trusted part of ritual. With the right match, each session moves from compromise toward comfort, consistency, and lasting enjoyment.

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MOVIE REVIEW: Death of a Ladies' Man

Images courtesy of Buffalo8 Entertainment and Transmission Films

DEATH OF A LADIES’ MAN— 3 STARS

LESSON #1: THE DEFINITION OF A “LADIES’ MAN”— Dissecting the title of Death of a Ladies’ Man, the idea of a “ladies’ man” comes with a few misnomers. Many pigeon-hole them as being jerks, players, and womanizers. Those folks are simply meeting the wrong kind of guy. A traditional dictionary will tell you a “ladies’ man” is “a man who shows a marked fondness for the company of women or is especially attentive to women.” Even the fast-and-loose Urban Dictionary will reinforce that to add:  

“A man who the ladies love, easy to talk to, or love being around. A man who has the respect of them and well doesn't need to kiss and tell, they do it for him.” 

Following the correct behavior, the attentiveness and respect are honest rather than deceitful. Nowadays, that very straight-shooting archetype might feel antiquated in this Tinder-tinted era. Not hiding a bit behind his then-70 years of age to exude dashing flair, the prodigious Irish actor Gabriel Byrne reminds us that the genuine article is still possible in Death of a Ladies’ Man.

I would say the “ladies’ man” is “alive and well,” but that’s the catch of Diary of a Ladies’ Man, a 2020 film from writer-director Matt Bissonnette that toured the festival circuit and finally arrives this fall on VOD platforms. The Miller’s Crossing and The Usual Suspects leading man plays Samuel O’Shea, a literature professor of multiple marriages in Ontario, who learns he likely has less than a year to live. He wouldn’t have even known such grave news had his latest weekend drinking bender—spun out of control more than usual after discovering his wife Linda (Moonfall’s Carolina Bartczak) banging bedroom furniture against walls with a younger man—not put him in his doctor’s (Pascale Bussières of When Night is Falling) exam room for a headscan.  As it turns out, Samuel has a growing glioblastoma tumor that is inoperable and entrenched in the areas of the brain responsible for thought, reasoning, behavior, memory, hearing, vision, and emotion. 

LESSON #2: CAN YOU FEEL BAD FOR THE LADIES’ MAN?— Broken into three very distinctly labeled acts, each poetically emphasizing fate and understanding, Death of a Ladies’ Man locks audiences into Samuel’s secret march to finality. He decides not to tell his previous ex-wife (Mommy’s Suzanne Clément) and their two adult children, Layton and Josée

(Antoine OIivier Pilon of Most Wanted and Karelle Tremblay of The Fireflies are Gone, respectively). Gallows humor is nothing new, but the film asks whether viewers can feel bad for a ladies’ man and laugh along with its type of frankness, especially if they are still associating that personality with something more misogynistic and lecherous. What would it take to find empathy beyond cursory sympathy for a character like Samuel O’Shea? What does comeuppance look like for a potential asshole?

Matt Bissonnette answers those quandaries with a fantastical rub taking shape in Death of Ladies Man, which sets it apart from the typical “woe is me” sad sack story of abrupt mortality. During this most recent binge drinking escapade, Samuel keeps seeing people and things that aren’t there in vivid hallucinations, most notably and repeatedly being a younger version of his long-dead father, Ben, played by Brian Gleeson of Logan Lucky. Moreover, they are triggered by and narrated to—get this, especially if you know the homage represented by the film’s title—the smoky songs of the late great Leonard Cohen

Death of a Ladies’ Man presents Samuel’s many visions in quirky cinematic splendor with practical makeup and effects. From surprise appearances from Ben to sharing conversations with a very Karlofian Frankenstein’s monster at a bar and seeing two semi-professional hockey teams break from the performance of the national anthem to engage in a lengthy ice dancing number set to “Bird on a Wire,” the sequences get more elaborate as the movie continues. The cast dives headfirst into the stellar choreography and dance coaching from Sandy Silva, Milena Todaro, and Siobhan Manson. The reflective and entertaining pauses created by these artistic asides break the depressive streak of the subject matter and become welcome performative indulgences.

If there’s a place where the morbid whimsy of Death of a Ladies’ Man sways slightly errantly, it’s in the middle section of the film. After getting his diagnosis and flaming out a bit professionally, Samuel O’Shea puts his life on pause to go back to his family’s oceanside cottage in the Galway area of Ireland to write the novel he never attempted earlier in his life. There, he meets a new tough cookie love interest in the form of Jessica Paré’s Charlotte Lefleur. While Samuel rediscovers a measure of his vigor amid the lovely photogenic excuse to show off the Emerald Isle’s rustic beauty for a movie, this portion of Bissonnette’s film feels like it’s a separate fantasy from a different era. It flatly clashes with the initial aim of presenting an older Lothario in modern, mature times. 

LESSON #3: PUT YOUR FEELS TO A SOUNDTRACK--- Luckily, the intentionally curated selections of Leonard Cohen’s catalog lift everything about Death of a Ladies’ Man. After his debut caper film Looking for Leonard in 2002, Matt Bissonnette has had an unabashed soft spot for the Canadian crooner. Seven songs in total are included in this film, each transforming its respective scenes with surreal levity. Cohen’s poignant lyrics match wonderfully with the plot and add a twinkle in everyone’s eyes, especially Byrne’s. What could have been a morose, listless slog about a bitter whiner is energized into something of a soul-stirring seance in many layers and moments. If you’re taken away for 100 minutes to think about your life—what you’ve done and haven’t done—and what kind of man or person you want to be, one could do far worse than swoon to Gabriel Byrne and groove to Leonard Cohen. 

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The Shadow’s Edge ★★★★

Released: 3 October 2025 Director: Larry Yang Starring: Jackie Chan, Tony Leung Ka-fai There’s a reason why crossover movies do well at the box office: whether it’s a long-awaited fight of the biggest kaiju or iconic slasher villains doing weigh-ins in Vegas, the sheer curiosity can easily sell an outlandish concept. In that sense, Larry […]

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MEDIA APPEARANCE: Guest on the Kicking the Seat's YouTube Channel Talking "One Battle After Another"

After a two-month siesta thanks to the rigors of the teacher day job, I found myself back on the Kicking the Seat podcast and YouTube channel hosted by Ian Simmons. The cinephile world was set ablaze at the end of September with much-ballyhooed release of Paul Thomas Anderson’s new multi-genre opus One Battle After Another. The film has been enjoying all the recency bias and proclamations that it’s the best film of the year and the titan to beat at the Oscars. Well, Ian, myself, Mark Krawczyk of Special Mark Productions, Mike Crowley of You’ll Probably Agree, and Cati Glidewell of The Blonde in Front have more than a few things to say about that.

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MEDIA APPEARANCE: Participant in "World of Reel" Critics Poll for Best Steven Soderbergh Film

As I have grown in press credentials and professional affiliations nationally, I have found myself landing in circles with other film critics of various levels. Recently, I was included in a poll for voting critics for Jordan Ruimy of World of Reel, a fellow Rotten Tomatoes-approved critic. His survey was to collect picks for the best films of Steven Soderbergh from over 100 critics and other industry folk. I was honored to chime in with my top three selections to be included with some very high professional company. Enjoy the article and list. Check out your boy!

MY PICKS: Out of Sight, Ocean’s eleven, Erin Brockovich

overall results:

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MOVIE REVIEW: The Smashing Machine

Images by Eric Zachanowich, Ken Harima, and Cheryl Dunn for A24

THE SMASHING MACHINE—4 STARS

While combat sports have risen to become more popular and respected than they were two decades ago at their infancy, there remains a section of the public that views them with disregard. They see the proverbial blood, sweat, and tears, and assume the worst and ugliest. To them, the spilling of blood is barbaric, and the sweat dripping off the muscular bodies swinging their fists and kicks could only come by way of illegitimate performance-enhancing means. With those ignominies held hard, the part those doubters buy the least is the tears, and that’s where they’re missing the bigger picture. The Smashing Machine focuses on a story that breaks away from most of those stigmas to explore the very significant veins, sweat glands, and, most importantly, tear ducts that saturate the warrior souls of combat sports.

Written and directed by Benny Safide (Uncut Gems), recipient of the Silver Lion directing awards at the 82nd Venice Film Festival, The Smashing Machine opens in 1997 to recreate the mixed martial arts debut of former NCAA freestyle wrestling champion and World Cup gold medalist Mark Kerr. Played by box office titan and hall of fame professional wrestler Dwayne Johnson, Kerr casts an imposing shadow coming out the curtain to a billed height and weight of 6’ 3” and 255 pounds. This man did not skip leg day, and his shoulder definition alone looks like it should be painted green and coming from a raging and roaring superhero. At this World Vale Tudo Championship event, Mark defeats Paul Varelans in under two minutes with an offense of wrestling takedowns paired with smothering ground-and-pound strikes on the mat (a term Kerr famously coined for posterity).

Up-and-coming cinematographer Maceo Bishop sets the kinetic stage of how his camera is prepared to bob and weave around the ropes and corners of the ring to capture this match, and more to come, in a collection of angles and perspectives stitched together by Safide himself at the editing station. Other than working up a momentary sweat, Dwayne Johnson, masked by superb prosthetic makeup effects by two-time Academy Award-winning artist Kazu Hiro (Darkest Hour, Bombshell), looks unscathed compared to his opponent and beams from ear to ear in the glow of victory. After his hand is raised, his main squeeze, Dawn Staples, played by Johnson’s Jungle Cruise co-star Emily Blunt, joins in the celebration amid a flicker of occasional flashbulbs and arena lights. It’s an impressive and showy athletic win to witness.

LESSON #1: HEAR THE MAN BEHIND THE MUSCLES— Be that as it may, it’s not pulse-quickening action between the ropes during this introductory scene that catches your attention and establishes the tone for The Smashing Machine. It’s Johnson’s voiceover. Played over the entire fight, Kerr is heard discussing with an interviewer his approach, mindset, and goals going into his fights. Raising his voice a slight octave and utilizing a flowery speech pattern, Dwayne Johnson reveals a calculated and fascinating individual driven towards the benefits of a growth mindset. He speaks with almost soothing candor, far from the hot-and-bothered attitudes hellbent on destruction that people most associate with MMA fighters. This type of timbre, perfectly executed by Johnson, is a stark departure from his usual growling and gregarious self seen in tough guy movie roles or dropping cocky promos with a WWE microphone for a captivated live audience.

We learn, right from the start of The Smashing Machine, that even though this film follows many of the tried-and-true steps of the sports movie formula, the narrative is calibrated to explore a different degree of existence within this pugilistic setting. It’s still going to prepare us, and maybe even hype us closer to a true frenzy, for some kind of main event finale, but it’s going to do so—like the main character—with tests of patience and reserve.

Based on the 2002 HBO documentary of the same name, The Smashing Machine spends most of its runtime chronicling a life outside of the ropes or cages. Mark and Dawn call Arizona home as he tries to break into a sport that is just starting to become well-attended and lucrative. Skipping ahead to 1999, Mark and his good friend and training partner, Mark Coleman (played by retired Bellator heavyweight champion Ryan Bader), find more opportunities and paychecks in Japan fighting for the Pride Fighting Championships promotion. Through these months and years, Mark is locked on fight preparation and discipline, which doesn’t mesh with the superficial revelry Dawn enjoys, causing strain and conflict in their relationship that ranges from trivial and crucial.

LESSON #2: CONTROLLING EMOTIONS, FEARS, AND ANXIETIES— Spoken from the main character’s own mouth, this lesson title is the chief pillar of Mark Kerr. For many regular 9-to-5 people, this is a tough task. Try it as a person who spends the peak of their time punching someone or getting punched themselves. Let’s see you tame your emotions then. Mark seeks a focus that is even-keeled and within his control as he seeks the highest of highs in becoming a winner. Mark Coleman and fellow trainer, Bas Rutten (playing himself), know how to feed that requirement. What doesn’t nourish it and drops him into an undesirable void are Dawn and a growing addiction to narcotic painkillers. How Emily Blunt twists and massages her increasingly questionable and negative influence is a performative treat across from Johnson, as both play “all about you” blamers. 

When the undefeated Mark Kerr finally loses, 40 minutes into the movie, in a knockout loss to Igor Vovchanchyn, which was later overturned to be a “no contest” due to illegal strikes, there’s a tone shift in The Smashing Machine from the positive self-talk and optimism voiced at the beginning. The score from ambient jazz virtuoso Nala Sinephro pulsates to a new, unnerving pitch, almost like the ringing of a concussion. When it does, you anticipate an imminent eruption of sour personality from Mark. You search for the cracks of composure, especially when those aforementioned and doubted tears arrive. Blunt waits for it too—the trainwreck breaking point and resulting downward spiral. The movie teases—forgive the pun—rock bottom, but not yet.

LESSON #3: RUMINATION OVER RAGE— Right when most movies would explode, The Smashing Machine holds off. Mark Kerr takes his off-screen trip to rehab and comes out an even more resolute man than before. Meditation replaces mayhem, and rumination washes over rage, and that goes for Coleman and the other fighters shown of this Aughts era. No one ever looks like a savage. Instead, they look like determined competitors with respect for the work and each other. Because of that slant, The Smashing Machine pokes at a next level of profundity without achieving a full wringer and catharsis to really overwhelm you.

While the swells and “big fight feel” (which aren’t worth the extra IMAX upcharge in the picture and sound department) never completely wash you over with Mark Kerr becoming the background figure to Mark Coleman’s eventual triumph (opening Bader to more effort as an actor) in The Smashing Machine, this heavy saga lives and dies with the enormously galvanizing performance from Dwayne Johnson. Look how far “The Rock” has come in the nearly quarter-century since his theatrical debut in 2001’s The Mummy Returns. Sure, the mountain of a man was ideal to handle the physical demands of this role, but credit is still due his way for getting in the ring—north of 50 years old—-and performing the rigorous work for MMA coordinator James Moontasri and fight coordinator Kirk A. Jenkins. 

Still, how many times have we written Dwayne Johnson off? How many times have folks rolled their eyes at another beefy piece of blockbuster cheese with his name at the top of the poster? Well, those days are hopefully over. A corner has been turned with The Smashing Machine, and the trust granted to him by Benny Safide to make this character piece and hoist his talent to a higher plane.

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How Casino Scenes Shape Movie Suspense

Casinos have long provided filmmakers with a rich, atmospheric setting where tension can simmer and explode. The combination of high stakes, hidden motives, and glamorous danger makes these environments perfect for building suspense. From the spin of a roulette wheel to the flick of a card, every action carries weight, pulling audiences to the edge […]

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