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  • The Incredible Shrinking Man

    The Incredible Shrinking Man


    This review may contain spoilers. I can handle the truth.

    In some ways a typical nuclear scare sci-fi of the 50s, but in its implicit examination of male anxiety, fear of the impotence of classical masculinity in the modern world, Jack Arnold's The Incredible Shrinking Man is more than just another shlocky B movie. Arnold had genre pedigree, having previously directed features like It Came From Outer Space, Creature from the Black Lagoon and Monster on the Campus, but aided by Joseph Gershenson's rousing score, he brings emotional depth and…

Recent reviews

  • Sleepwalk



    Shout out to Edith for putting me onto this one!

    WTF: The Movie, courtesy of 1986.

    "I can't call the police... I don't have any papers for the car. I don't have registration and I don't have insurance and I dOn't haVE aNY HaIR"

    Supremely odd little supernatural thriller (I guess - it's anything but thrilling though), featuring Delphic plotting, stilted acting, almond-scented apocrypha and a girl called Ecco. Ecco. For a film that's only 75 minutes long, it's got…

  • A Streetcar Named Desire

    A Streetcar Named Desire


    Hailed by many as a classic, I must admit this 2 hour melodrama tried my patience at times. The action is largely set in a single location - Stanley and Stella's tiny apartment in New Orleans - where the arrival of Stella's sister Blanche signals a disruption to their marital harmony. One of my main problems with it is that none of the central characters are particularly sympathetic; Blanche is constantly histrionic and narcissistic; Stanley, though perceptive, is thoroughly charmless,…

Popular reviews

  • RoboCop



    There's a new guy in town.
    His name's RoboCop.

    Such a badass film. I haven't watched this in a while but it holds up like the Maya Pyramids. It's the perfect storm - scintillating script, awesome action, visuals to die for and a spine-tingling score from Basil Poledouris with that main theme, first heard as RoboCop takes to the street in his patrol car, blurred city skyline and deep orange sky visible through the dividing mesh. I never really noticed…

  • Bait



    I'm not sure what I was expecting - neo-realism or retro-styled kitchen sink drama perhaps - but Mark Jenkin's entrancing film is a labour of love that borders on anti-realism with its expressionistic editing, montage and post-synced sound. It's a defiantly experimental, subtly confrontational piece that stays true to his own Dogme-like Silent Landscape Dancing Grain 13 manifesto. It looks like a long lost artefact, rescued from oblivion, but has an unmistakably modern sensibility.

    The way the sound is entirely…