Eva has written 6 reviews for films rated ★★★ during 2019.

  • Lake Mungo

    Lake Mungo


    by all accounts a movie i should adore, and definitely one whose merits i can appreciate: the recreation of the format and style of a particular kind of documentary is so skillful that it only plays its hand as something else in the smallest of aesthetic choices, holding a shot just a bit too long or intercutting with just slightly more potency than its referents, and the emotional intelligence on display is obviously sophisticated, even revelatory at times. but i…

  • Unfriended: Dark Web

    Unfriended: Dark Web


    nasty, and useless as any kind of commentary on the economy of spectacle and suffering, but still riveting on the level of construction and filmmaking, using the laptop screen as less a claustrophobic conceit than a playground for informatic and visual manipulations. this might just be a needlessly cruel remonstration of its own audience, but goddamn if it isn't the most baroque and tightly controlled possible execution of that (rather myopic) subgenre of exploitation

  • Cigarette Burns

    Cigarette Burns


    two great scenes (the french 'amateur filmmaker', the ending stretch at Udo Kier's house) surrounded by a whole lotta nearly unwatchable ones and dragged down by a weepy traumatic history so risible that the genuinely incisive sneering at extremity which Carp gets up to here is almost rendered lifeless. but even through Reedus' atrocious performance the fact that a man who spent his life making movies directed this film about how art is sick and cinema is disgusting and the best thing rich people can do is watch a movie and die afterward has undeniable potency

  • Siesta



    imagines Europe as an oneiric playscape defined by the interpermeability of space and time, cuts brashly drawing symbolic connections which barely hold together but that nevertheless evoke the brightly-lit phantasmagoria of post-traumatic dissociation. plays a bit like Twin Peaks’ European Vacation honestly (even if Ellen Barkin can’t hold a candle to Sheryl Lee). America is just proximity to death and the fires of nationalist spectacle, a place where no one has to atone for their mistakes; in Europe time runs backwards and death’s an endless, woozy tour through rancid parties and overgrown memories

  • There's Something About Mary

    There's Something About Mary


    weirdly astute about the proximity of ‘normal’ masculine heterosexuality to the deranged and psychopathic but never really pushes beyond a childish fascination with the grotesque and awkward to get at any kind of real affect. that’s not to say there isn’t genuine cleverness in the joke construction, because there’s plenty of that (the constantly rearranging thicket of lies and manipulations is almost screwball-ish), and of course it’s refreshing in 2019 to watch a comedy where there are actual jokes, instead…

  • Her Smell

    Her Smell


    the bipartite structure at play here (the first half a jumbled mess of dizzyingly rapid editing, barely intelligible monologuing; the second half drastically slowed down, stretching out those uneventful post-sobriety family scenes to sometimes excruciating lengths) is genuinely sophisticated, moreso than i would've expected from ARP. certainly there's still some formal overdetermination, especially in the first hour or so, but Moss & co. sell the logorrheic writing as the desperate rantings of terrified addicts, giving emotional heft to the pseudo-Shakespearean drivel.…