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  • Bullet Ballet

    Bullet Ballet


    A pulse pounding psychosexual examination of the overlap between violence and masculinity crystallized in one outcasts obsession with firearms after his girlfriends suicide. Vivid, dripping with an oblique punk aesthetic and shot with provocative monochrome that absorbs you into its urban desolation, Tsukamoto was the raw electrical energy of Japanese independent cinema in the late 90s and this exemplifies his powers as a director perfectly.

    I suppose I prefer Tokyo Fist as it is one of my favourite films of all time, but this has a specific place in his filmography.

  • I Think We're Alone Now

    I Think We're Alone Now


    An ill-conceived odd couple film that mistakes the mundane for the prophetic in its vision of post-apocalyptic loneliness. A fatal misuse of the lead actors natural charismas and an unforgivable misuse of Paul Giamatti and Charlotte Gainsbourg.

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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.