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  • Widows

    Widows

    The vacuousness of Widows is apparent right from the opening scene - McQueen communicates immediately through the editing that he has no interest in the heist film, of generating any real sense of genuine tension, or examining anything below the surface of his checklist of social issues. I think it becomes pretty clear why - he doesn't have an understanding of how to shoot action or suspense, so he settles for laborious, self conscious long takes in the form of…

  • Thriller: A Cruel Picture

    Thriller: A Cruel Picture

    ★★★★★

    Recommended to me by Savage as part of our weekly Roulette on Metropolis.

    Unapologetically vicious filmmaking complimented by a quietly brave performance from Christina Lindberg, extremely precise editing, and an insidiously unnerving and subversive sound design. Like Rob Zombie, Bo Arne Vibenius seems to just know exactly when to cut to a close up, and how to use slow motion in the most impactful way possible. More proof that for the most part Tarantino does not understand the films he steals from (see Kill Bill Vol. 1 & 2). An exploitation classic.

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  • Hereditary

    Hereditary

    Hereditary, Ari Aster's hilariously self assured debut, is fundamentally about nothing. Aster indulges in leering pornographic nihilism, making this the perfect film for art house audiences who don't actually like horror films.

  • The Revenant

    The Revenant

    On a second viewing it only really solidified everything I thought the first time around... I don't know what Iñárritu is trying to prove here apart from his own brilliance. He doesn't even understand the filmmakers he blatantly steals from - the rhythms and associative qualities shared between Malick's images and cutting style are grossly misinterpreted here, the savagery completely discordant from the chosen aesthetic.

    This is stunt filmmaking, engineered from the get go to provoke praise and accolades, at…