• Fatman



    This isn’t outright bad, but it’s unfortunately not good, even if its fun (albeit semi-The Santa Clause ripoff) premise suggests it should be. 

    Walton Goggins committed performance is the best thing about the film. Sadly only he, Marianne Jean-Baptista, and a young Chance Hurstfield are really pulling their weight. 

    Mel Gibson is alright, but his character is honestly boring for the most part in a film whose best asset is it’s dark humor and camp. 

    Meanwhile, the initially interest-piquing angle…

  • Stage Fright

    Stage Fright


    So now I gotta go see what else lies in store for me within Michele Saovi’s oeuvre, because this is a really stylish and fun giallo slasher. 

    The premise is great, and the stage production setting allows for not only cool sets and props, but also an excuse for an animated cast of characters, most of whom are also queer, which is also nice to see. 

    And unlike lots of films and especially horror films, these queer characters aren’t ubiquitously…

  • May



    A consistent and cohesive psychodrama horror anchored by an excellent performance from Angela Bettis. 

    I’d previously seen her and writer-director Lucky McKee team up for The Woman, which I wasn’t big on, and it’s been too long to remember exactly why. Probably partly from how removed it was. 

    But this is entirely relatable to me, and probably to many others. I’ve been on both sides of these awkward, socially mismatched encounters. I’ve been a lonely outcast as a child. I’ve…

  • Women on the Verge of a Nervous Breakdown

    Women on the Verge of a Nervous Breakdown


    You can tell Almodóvar has a penchant for the melodrama of Douglas Sirk and for his same usage of color: greens, blues, and most especially bright reds are fucking EVERYWHERE. 

    The lighting may not be quite as spectacular as Sirk’s, but the excellent color is complemented with inventive framing and smooth movement alongside bright and anxious music. 

    Carmen Maura is utterly fantastic; completely relatable and hilarious and a total baddie. 

    Antonio Banderas is damn near unrecognizable here. But he’s good…

  • Wait Until Dark

    Wait Until Dark


    Damn, this beats the breaks off Hush doing the same thing 50 years sooner. 

    This guy directed the first three Connery Bond films, so it’s pretty crazy how hard this nails tone and tension in such a small space with such seriousness and with so few frills. 

    Really good use of lighting, especially with respect to practicals toward the finale. 

    Solid cinematography that smartly showcases perspective and lets the excellent performances do the work. 

    Alan Arkin delivers a nasty, twisted…

  • Domino



    Two years after noted trashterpiece Bad Boys II, and just one year after the arguable peak in director Tony Scott’s filmography, Man on Fire, he gave us a film that is essentially a mish-mash of the two.

    Except with even more flash-cut montage, even more contrast, and perhaps the most yellow overtones you’ll see in a film this side of Von Trier’s The Element of Crime. 

    Kiera Knightley does a pretty terrific job with her outlandish role. Ditto the whole…

  • Flying Backwards

    Flying Backwards

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

    Not as big a fan of this short, but I think it's largely hindered due to being a 48-hour turnaround on a prompt. Hard to make anything in that little time.

    Vanessa Jade Holmes gives a really good performance, but Laurence James-Davis really struggles here.

    I think the script could've cut to his angry suspicions a little more quickly too. As is, things are a little delayed and repetitive. Maybe having to buy time in confusion made things harder for…

  • Surroundings


  • Garden


  • Ghosted


    Overdue on reviewing this, so my apologies to director Declan Smith, as I'd initially assured them I'd write about it weeks ago. That damned ADHD strikes again.

    As always, please do give this person all the support in the world for the simple fact of creating and sharing. That takes a lot, and it has independent value even before the critical value of a work, which this also has.

    It's a very relevant topic and feeling in the modern world,…

  • Brain Damage

    Brain Damage


    This manages to retain some of the charm and pretty much all of the low-budget-effects acumen from writer/director Frank Henenlotter’s previous effort, Basket Case. It even retains the protagonist himself in a nice little Easter Egg cameo. 

    I don’t think this is quite as good as that one. But I might like it a bit more than his follow-up, Frankenhooker. 

    The premise is fun, and the script has a fair amount of chuckle-worthy entendre and subtext, painfully obvious though it…

  • Thirst



    Much prefer this to CWP’s other vampire movie.

    It looks good as hell, of course: sleek and sliding and cool. 

    Lots of pretty, varied shots with plenty of trademark movement. 

    A nice, fitting score completes the feel. 

    This is pretty slow, with an opening that’s overlong and a likewise generally stretched runtime of roughly 140 minutes. 

    Really solid performance from Song Kang-Ho and an even better one from Kim Ok-vin. 

    I do wish the former’s character was a little more…