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  • The Boy Who Came Back

    The Boy Who Came Back


    Suzuki really needed to plot this one out better. His main protagonist is half formed, his dilemma is artificially drawn out, jo shishida is wasted, and it ends so anticlimatically for a Suzuki film. It needed a better perspective on its youth reform commentary instead of just rehashing out of control youth plots from earlier films. Still, visually it has a stunning outlook showing even at the amateur phase of his career Suzuki has higher intentions

  • The Nice Guys

    The Nice Guys


    This pairing of Russell and Gosling works incredibly well and how it evokes the time period of the 1970s. It is deeply reminiscent of Blacks masterpiece in Kiss Kiss Bang Bang of the hapless detectives failing upwards to solving a case after clues often quite literally fall into their laps, and that contrivance finds ways to be deeply funny as opposed to annoying. Almost every line lands and Gosling and Crowe are so game for Blacks absurd flights of fancy.…

Popular reviews

  • The Neon Demon

    The Neon Demon


    Never has there been a movie that is so vulgar and yet so audaciously beautiful. Refn's Neon Demon does everything in it's power to confront your ideas of aesthetics and completely invert them to a new classification the likes of which have not been approached since the glossy works of Dario Argento. Salacious and exploitative. Gruesome and utterly disturbing. Refn has made the type of film that makes one reconsider their taste and reevaluate what they believe is "too much"…

  • Mad Max: Fury Road

    Mad Max: Fury Road


    Straight up not a gimmick. Draining the colour adds so much to the texture of this film. It gives the makeup such definition. The vistas such imposing scope. The fire and rubble such dynamic detail. Ridding one of the more colourful action films of the past two decades of its glorious palette would seem like an exercise in futility.

    But somehow, this might be better.