Adam

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

All
  • The Pirates of Penzance

    ★★★★

  • The Last Broadcast

    ★★★

  • Elvis

    ★★★½

  • Dead Silence

    ★★

Recent reviews

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  • The Pirates of Penzance

    The Pirates of Penzance

    ★★★★

    This was one of a few VHS tapes we owned when I was a kid, so I saw it countless times, but this is my first rewatch in at least 20 years. I can appreciate now just how formative it was to my love of camp — and how oblivious I was to its gloriously gay sensibilities. (I haven't forgotten the over-the-top turns from queer actors George Rose and Tony Azito, but I surely never noticed the way Rex Smith's…

  • The Last Broadcast

    The Last Broadcast

    ★★★

    A low-budget slow burn that’s mostly notable for some incisive metacommentary. But it fumbles its finale about as badly as possible and ends up feeling more goofy than anything else.

    51/100

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  • My Best Friend Is a Vampire

    My Best Friend Is a Vampire

    ★★★½

    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.

    45/100