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  • Boom!

    Boom!

    The austerity of 60s Euro modernist art cinema meets the indulgence of 60s prestige Hollywood. This as boring a film as you would expect would be wrought from a marriage of these two strands of filmmaking but also, unexpectedly, a gloriously dissociative hoot, where the drunken, imprecise, perhaps self-aware (perhaps?) fumbling of its stars undercuts any White Elephant aspirations. The film Contempt attempts to be in theory Boom ends up being in practice. Gorgeous, inchoate, an enormous resource suck where…

  • The Divine Miracle

    The Divine Miracle

    Definitive proof that the divine can only truly be seen in Ektachrome.

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  • The Last House on Dead End Street

    The Last House on Dead End Street

    ★★★★★

    Would this film be the rabid, frothing mad beast that it is if it weren't less than 50% of its original length and edited with extreme carelessness? Could it retain its crude power if Watkins didn't blow so much of the budget on speed and could've paid for an actual sound mix instead of washing every line of dialogue out with reverb and flange? Does a more powerfully nihilistic film exist in either the canons of American underground or exploitation…

  • Freddy Got Fingered

    Freddy Got Fingered

    The pathetic grotesqueries of Jerry Lewis meet Fassbinder's bleak vision of domestic disruption. One of the greatest and most honestly transgressive American studio comedies up until Green & co. decide to put Gord through the typical fits of rejecting then doubly embracing some wild dream before succeeding and experiencing some degree of reconciliation at the end. Even if all of this plays out in quotation marks (and even if the film ends in a bit of nasty, gory surrealism), it doesn't…