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  • Un Chien Andalou

    Un Chien Andalou

    ★★★★

    The film is inexplicable and meant to be an experience rather than a coherent piece, like an art installation more than a film, but it does play with the conventions of cinema in a humourous, self-reflexive manner that is too absurdist to be Juvenalian, while also expanding the audience’s perception of the capabilities of the art form. I particularly appreciate the way the soundtrack was utilised to forward the nonsense “plot”.

  • Christine

    Christine

    Just as terrible as Maximum Overdrive but not nearly as fun. There's not much to say about this film because it's so incredibly dull. I suppose there's something intriguing about the connection between fifties nostalgia and violence in this film, but that's really just a consequence of King's self-indulgent obsession with nostalgia. In fact, this film is a consequence of the eighties's insistence with adapting every half-baked King daydream into a feature film.

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  • One Flew Over the Cuckoo's Nest

    One Flew Over the Cuckoo's Nest

    Less about the plight of the mentally ill and more about white men feeling emasculated in a world that is starting to realise they're not the centre of everything.

  • Only Lovers Left Alive

    Only Lovers Left Alive

    Honestly so insufferable. From the intellectual name-dropping to the exploitation of landscapes shaped (and lived in) by marginalised groups while focusing on some boring British weirdos - the most pathetic vampires of all time - there was nothing to be salvaged. Is Jack White's childhood home really the most interesting place in Detroit? Y'all so white and anglo saxon and shit.