goodhunterabbie has written 11 reviews for films rated ★★★★½ during 2019.

  • Lake Mungo

    Lake Mungo

    Takes The Blair Witch Project's idea of the camera as simultaneous buffer between you and reality and terrifying confirmation of horror as reality and progresses it into the realm of digital image-capturing. When the real is capable of being manipulated, the line between the artificial and the hauntological blurs—ghosts become digital artifacts and digital artifacts become ghosts. It becomes impossible to say whether the supernatural is always with us or whether we manufacture it into being.

    The above philosophical meandering…

  • American Psycho

    American Psycho

    Avoided this for years because I considered the novel essentially unadaptable, most specifically in its overwhelmingly repulsive violence. As it turns out, Harron agrees—rather than even attempting to translate the book's slaughterhouse depictions to the screen, she reduces them to the abstract in the crazed scribblings Patrick's secretary Jean discovers in his notes. That moment, while it lacks the horrifying power of the book's lengthy descriptions of brutality and mangling, is nonetheless absolutely chilling.

    It also highlights Harron's choice to…

  • Lessons of Darkness

    Lessons of Darkness

    Where There Will Be Blood refines the horrors of capitalism and imperialism into monstrous individuals, Herzog strips them of context, rendering them as a cosmic, alien angel of death. The thread running through both films is oil—masquerading as water until it ignites, burning bright and eternal.

    If, as in aleph null's amazing reading, There Will Be Blood is PTA's perverse Tree of Life, this is Herzog's Satanic Voyage of Time.

  • Invasion of the Body Snatchers

    Invasion of the Body Snatchers

    ★★★★½

    Would make a hell of a double feature with The Parallax View.

  • The Matrix

    The Matrix

    ★★★★½

    When I first joined Letterboxd, I gave this movie three stars. Guess you could say I've freed my mind.

  • Flash Gordon

    Flash Gordon

    ★★★★½

    This... fucking ruled?

    The "bad" cloud tank effects and compositing are way more beautiful and visually distinctive than most photorealistic CG. Art direction, kids.

  • Her Smell

    Her Smell

    I've seen criticism of the way Perry drags out the first three acts into a circus of abuse without much purpose beyond "Look at how terrible this character is!", and I definitely felt the same way in the midst of watching them—the sound work and Moss's performance are both harrowing, but they're the same note played at different octaves over the course of an hour, leaving you drained and exhausted and utterly ready for this monster to get what's coming…

  • Marnie

    Marnie

    ★★★★½

    That this isn't frequently mentioned in the same breath as Vertigo stuns me, and to be honest I think it's the better film. Hitchcock and Connery's involvement almost makes it feel like a self-lacerating confession—Connery is a monster, a gaslighting, paternal rapist whose role as the movie's "hero" plays as a cruel joke (and is eerily reminiscent of Hitchcock's behind-the-scenes treatment of Tippi Hedren, whose career he ruined when she refused his advances). Hedren herself gives the best lead performance…

  • Sorcerer

    Sorcerer

    ★★★★½

    "Anyway. We delivered the bomb."

  • I Am Cuba

    I Am Cuba

    ★★★★½

    So that's what Cuaron thought he was doing with Roma.

    Not up enough on Castro to have an opinion on whether or not the propaganda is dubious (though the "I knew you'd come" scene played as unintentionally grotesque for me), but that camerawork.

  • Winter's Bone

    Winter's Bone

    Nothing short of a tragedy that Granik had to wait eight years to make her next movie after this when Guy Ritchie could go from fucking King Arthur to a $200 million Disney tentpole.