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  • Sunset Boulevard

    Sunset Boulevard

    ★★★★★

    Norma Desmond’s final scene, where she recedes back into the unreal reality of “acting” along the winding staircase of her tragically haunted mansion, is a moment of profound self-reflexivity—where the film’s acknowledgement of its own mirror reflection to the real world of Hollywood at once converges and diverges with the unreality of the medium’s artifice—of “Sunset Boulevard”, the vessel in which all is contained. The demise of Norma, a spectral avatar of Swanson’s own self, is congruently brought to life…

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  • Creature from the Black Lagoon

    Creature from the Black Lagoon

    ★★★★½

    Oh my god the underwater sequences are so good, especially the early ones when everything is strange and unknown—and also uncannily serene: isn't the relationship between beauty and horror strange?

    Ultimately all great mysteries are resolved by reason and rationality (science), but it's so thrilling to get lost in those liminal spaces. Literally—under the water, in the titular black lagoon—and also psychographically, the two intertwined. Exploring the mystical unknown eventually sees the unknown made known (which is kinda a downer…

  • Misery

    Misery

    ★★★★½

    Ok, this is a lot of fun

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  • Paris, Texas

    Paris, Texas

    ★★★★★

    Oh wow, just finished rewatching Paris Texas and the first thing I read about afterwards is the passing of Harry Dean Stanton. :( How strange, how sad. But he lived a great life! We were lucky to have him. I love Travis Henderson so, so much. I found such affinity and affection in every part he played, but never more than here in what he helped make one of the all time great American movies. The tenderness and and pathos and straight-up honesty just oozed out of Harry Dean. He was a one in a million. A special actor, a special movie. Unrepeatable.

  • Twin Peaks: Fire Walk with Me

    Twin Peaks: Fire Walk with Me

    ★★★★★

    Aka the greatest horror film ever made

    It's beyond heartbreaking how this was treated on release. I think primarily this just an example of Lynch being way ahead of the curve: this is a new kind of film—a synthesis of Blue Velvet's behind-closed-doors-suburbia dream story with a totally uninhibited subjective crux: the life and death of Laura Palmer, a girl whose suffering would be told and relived just the way it happened. For all Lynch's reverential abiding with the 50s'…