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  • The Funhouse

    The Funhouse

    ★★★½

    scooby doo but really mean

  • Patlabor: The Movie

    Patlabor: The Movie

    ★★★★

    mechanical "Labors" aligned like pagan idols in an Ark who, its prow sloughed off, reveals itself to be another Tower of Babel, collapsing into the sea under the weight of capitalist, idolatrous folly. a man falls to his death, his demon soul attached to a red-eyed crow, and a flock of birds gathers to commemorate a second Fall not much later. computer viruses play the part of original sin, no trace of the holy to be found anywhere but in the exquisite aesthetics of oshii's elegantly orchestrated pageant, although who is to say what it all means, capital-M, in the end....not i, certainly

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  • Twin Peaks: The Return

    Twin Peaks: The Return

    ★★★★★

    What makes Lynch so fascinating is that he’s a conservative whose aesthetic tendencies (unerring empathy for/centering of his female characters, a proclivity for exploring dysphoric relationships between persons and their bodies/bodies and the world, and an affinity for the cynical epistemology of the noir) constantly undermine his nostalgic and otherwise regressive gestures. Nowhere is that more apparent than in The Return, a colossal moral reckoning with the willful failure of each and every available institution (cultural/political/social) to reckon with trauma.…

  • The Blair Witch Project

    The Blair Witch Project

    ★★★★★

    on the violent impositions of movie-making, the mere force of a video camera's gaze enough to draw out a hidden evil in the placidity of an essentially anonymous landscape. baffled that anyone could watch this and demand less talking, less arguing, because honestly there's nothing more purely dread-inducing here than the pointless circumambulations that people engage in when they're terrified and have no fucking clue what they're doing. the terror is built with negative space, visually and narratively, the absences…