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  • The Innkeepers

    The Innkeepers

    ★★½

    Hotels are the harbors of transient ghosts— the specters called travelers that pass through, leaving no trace but the dim memory of a face closing a numbered door. They're halfway to an existential nightmare; if we were to live life as we do in hotels our ideas and identity would spread across their intricately designed system (its history in progress before us) for the 70 years we have and then, with the silence of a credit card swipe, we would…

  • Rabid

    Rabid

    ★★★★

    A lightly satirical jumble of Cronenbergian themes(capitalist and scientific hubris, the way urges subvert reason, and the relation of sex and violence), that still feels like an artist coming into his own. An awkward middle period between the Ballard derived Shivers and the character driven body horror to come. Still, Rabid rises above its fellow b movie trash with its lurid application of sleaze to political satire. Particularly notable is the way Cronenberg achieves a sense of societal chaos with a few dump trucks, radio broadcasts, and a couple dozen extras.

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  • Whiplash

    Whiplash

    ★★★

    Terrific acting. The script, though, is a little thin. The notion that great art is born of punching the hopeful till they become great is a little outdated, even if its indictment of the you tried pedagogy hold true.

  • Naked

    Naked

    ★★★★½

    David Thewlis rants himself into legend. A phrase I shamelessly stole from the Will Self interview with Mike Leigh. Naked is a film about a new sort of Hercules, set out upon a world that hates him on a mission to show the world itself. It's a slog, a loathsome, odious slog through the dregs of London, but in the end it feels as if some essential truth about hypocrisy has risen out of the chaos, one about the very nature of post Thatcher Britain. A nature that the film argues is unsustainable.