If it's Oscar-nominated, Australian, found footage or made-for-television, it's hopefully already in my watchlist.

Favorite films

  • Days of Heaven
  • Who's Afraid of Virginia Woolf?
  • Kiss of the Spider Woman
  • The Last Picture Show

Recent activity

  • The Cleansing Hour


  • Noroi: The Curse


  • Amish Stud: The Eli Weaver Story


  • Napoleon


Recent reviews

  • The Cleansing Hour

    The Cleansing Hour


    Feel distinctly like a first feature and it's a little too ambitious for its budget. Still, it starts off fun enough and I'd be curious to see the short it's based on since it'd likely sustain itself with a shorter runtime.


  • Noroi: The Curse

    Noroi: The Curse


    The variety show segment where a girl succeeds at ESP experiments is inspired stuff, but this meanders so much that it’s just one part of an largely unscary whole. (A 115-minute found footage movie is really pushing it!) The underscore and that grainy mid-‘00s digital video aesthetic further undermine it.


Popular reviews

  • My Best Friend Is a Vampire

    My Best Friend Is a Vampire


    Using vampirism as metaphor for homosexuality long before it was cool, this is surprisingly thoughtful for a teen horror comedy. The messaging is progressive despite not actually having a gay character. Among the highlights are Robert Sean Leonard's awkward coming out speech (as a vampire, of course) and his parents mistaking him for gay, reading guidebooks on the subject, and accepting him before being corrected. It's entertaining watching Leonard come to terms with himself and he's an affable, awkward teenage…

  • Little Women

    Little Women


    The height of hubris for Gerwig to think she could improve upon Louisa May Alcott’s structure. By fracturing the timeline, it cuts most character arcs off at the knees. Emotional moments are dulled or simply don’t work. To compensate, the tone is manic as characters are constantly breathless, giggling and smiling to suggest connections that otherwise aren’t established. Contrasted with Gillian Armstrong’s warm, heartfelt, definitive 1994 version, it’s an abject failure.