Mark Costello

Mark Costello Patron

Favorite films

  • Amadeus
  • Dazed and Confused
  • Almost Famous
  • Alien

Recent activity

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  • Tony Arzenta

    ★★★½

  • Dogman

    ★★★

  • Rosemary's Baby

    ★★★★★

  • One-Percenter

    ★★★★

Recent reviews

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  • Tony Arzenta

    Tony Arzenta

    ★★★½

    It’s a tale as old as time itself…well, maybe as old as cinema itself…a mob hitman decides he wants out and his bosses violently and murderously disagree, leading to a bloody rampage of rip-roaring revenge…

    Le Samourai himself, Alain Delon, trades his super slick mack and razor-sharp fedora for chunky knit sweaters and plenty of J&B whiskey as the titular assassin, brutalising his way through the various factions of early 70s Italian crime gangs after his family are accidentally killed.…

  • Dogman

    Dogman

    ★★★

    Luc Besson returns to the director’s chair for the first time since 2019’s Anna with a strange, melancholic character study/urban fable that seems to be channelling Todd Phillips’ Joker, with hints of a seemingly random collection of inspirations including Willard, Cabaret and The Elephant Man. All great influences…but I’m just not sure they all work well together.

    Caleb Landry Jones (truly excellent) is picked up by police, injured with numerous gunshot wounds and driving a truck full of dogs. Awaiting…

Popular reviews

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  • Rosemary's Baby

    Rosemary's Baby

    ★★★★★

    As perfectly constructed as the insidious invasion of a thoroughly modern life by the darkest of supernatural forces, Polanski's stunning script takes all the social iconography and hot topic cultural themes of the period and beautifully warps them into a meticulously crafted and wholly evocative narrative.

    Every facet of the film wonderfully aligns with each other to produce a stunning tapestry of character, of place, of time and of story that updates the hoary old tropes of witches and covens…

  • The Shining

    The Shining

    ★★★★★

    It remains peerless - Kubrick's clinical gaze and style gives everything so much room to breathe, the tension just oozes out of the screen. The polar opposite of modern super-quick, jump scare horror, there are almost no setpieces as we think of them today, more a steady and unsettling escalation of events, where nothing more than a woman reading a few sheets of paper is one of the most terrifying things ever committed to screen.

    That clinical visual style is…