Favorite films

  • Unico in the Island of Magic
  • Jessica Forever
  • Summer Vacation 1999
  • D.E.B.S.

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  • Popeye

  • The Blood on Satan's Claw

    ★★★★

  • Wheel of Fortune and Fantasy

    ★★★★

  • Spy Kids 2: The Island of Lost Dreams

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  • Popeye

    Popeye

    i haven't been watching or thinking about movies lately really because i've been focused on the truly kino medium of video games but this was really cute and so overflowing with life. shelley duvall doing the absolute most to make every movement and gesture feel as bouncy and unreal as a cartoon, the bizarrely non-song songs of the first half, "he needs me", the picture gag setup in the beginning that takes the entire movie to get to the punchline, a lot to love here. he really built a whole town in malta for the popeye live action movie...lmao

  • Girlfight

    Girlfight

    ★★½

    kusama's filmmaking here better than her screenwriting...mostly reliant on trite sports movie cliches and depressingly nothing het gender dynamics as the narrative engine but its embedding of those gender dynamics in terms of contraposed and evolving images of allowed and disallowed modalities of violence and occasional moments of genuine pathos are valuable (if too few and far between to sustain 110 minutes of film)

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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…