Eva has written 8 reviews for films rated ★★★½ during 2019.

  • Time Regained

    Time Regained


    almost certainly one of the most complex deployments of Ruiz’s style, characterized by a restlessness and constant reflexive (yet propulsive) forward motion that rivals Proust’s own extraordinarily sensuous prose, and a film that is often tremendously moving, which is why I wish I liked it more than I did. unfortunately, as irresistible as this often was on a moment-to-moment level, structurally it’s shapeless and underdetermined, not to mention overlong but still incapable of rendering the obsessions which animated Proust’s work…

  • Bully



    "that's fucking sick, that's gross...nature sucks"

    mostly convincing as an account of white middle class suburban masculinity (yet slightly hamstrung by a shaky understanding of its female counterpart), with the attendant class antagonism and sublimated queerness and systemic failure integrated to varying degrees of success. sometimes eerily plausible, often totally inauthentic, but still Clark has an unexpected (but not unwelcome) degree of formal control here that holds everything together even through the rough stretches

  • House of 1000 Corpses

    House of 1000 Corpses


    starts out as a chopped-and-screwed Texas Chainsaw Massacre riff with History Channel cryptid documentary aesthetic sensibilities and ends (quite effectively) as an Argento-esque (lol) explication of the logic of a nightmare space. wonderful anti-yuppie propaganda, agitates for the reclamation of trashiness from middle-class suburbanite hacks

  • The Last Airbender

    The Last Airbender


    against the action movie, some kind of post-wuxia masterpiece about the moments of near-stillness right before a blow lands. absolutely, inarguably a failure as an adaptation, yes, and yet this film is so totally disinterested in ever inhabiting that role that it’s easy to forgive. divests every character of anything resembling human affect and delivers information about the world with a completely alien, almost unintelligible logic (understandable that neophytes are somewhat bewildered), operating in a mode totally orthogonal to every…

  • Election



    when people say "socialism or barbarism", this is what they mean

  • The Visitor in the Eye

    The Visitor in the Eye


    love how this becomes Obayashi's take on Vertigo in the last half hour, which also boasts some of his most beautiful images of nostalgia, the sun shining so blindingly bright that it convinces us of the reality of ghosts

  • Village of the Damned

    Village of the Damned


    Not just a narrative of reproductive futurity and suburban capitalism self-destructing under the weight of internal contradictions, but also something far stranger and sadder, a study of grief as a magnetic force, an account of the attraction and repulsion between those who have lost. On what absolutely godly tier was Carpenter operating to take this, which should by all accounts be a fairly minor film, and turn it into something so potent?

  • Totally Fucked Up

    Totally Fucked Up


    Viewed as a series of formal gestures, Totally Fucked Up is clearly impressive: I particularly appreciate the way Araki frames his teenage solipsists as they laze about, filling the entire frame with their beds, making the site of their apathy seem almost inescapable, or the decision to dwarf the characters with neon signage in almost every scene filmed outside, the monstrous, unintelligible fragments of capital pervading every inch of the city. The issue, then, is that I think he hews…