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  • The Ghost of Yotsuya

    The Ghost of Yotsuya

    ★★★★

    Screened in glorious 35mm at the Art Gallery of NSW. Polychromatic nightmare fuel elevated further by its spine tingling sound design and stomach churning prosthetics. The camera moves through the space in a manner evocative of Sam Raimi’s free flowing work on Evil Dead 2, a mechanism emancipated from the limitations of a physical bodily reality. We move from realms of the quotidian to the spectral within mere moments, and any notions of safety are undermined by the psychological forces of guilt. Early Shakespearean horrors of guilt, murder, temptation and revenge are taken over by incomprehensible monsters that cannot be stopped. A film about Humanity.

  • Three Colors: Blue

    Three Colors: Blue

    ★★★½

    Delicately made, beautifully composed and brimming with tragedy. However, I felt rather stale and distant during the proceedings, and I just couldn’t get myself to the places this wanted me to go. Still, some moments hit well, especially with the amazing score that, admittedly, does most of the leg work. Like a dramatic epic 16th century French opera condensed down to a domestic drama, while still having those grandiose feelings like you’re watching something truly mesmerizing take place before you on the screen. But just like opera, it borders of tedium for some portions of the film.

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  • The Double Life of Véronique

    The Double Life of Véronique

    ★★★★

    Such an existential horror... imagine discovering you had a double with the same mind as you yet separate body. Descartes would be spinning. My brain has been doing somersaults trying to comprehend these ideas. It’s already existentially terrifying enough that I have a twin brother, let alone THIS. Thanks movie. But also this was very beautiful

    Btw I’ve been drinking so apologies to both my audience but also ‘morning me’ who will have to deal with the consequences of my actions tomorrow

  • Starsky & Hutch

    Starsky & Hutch

    ½

    From the director of 2019’s Golden Lion Winner comes a film that is the benchmark for shitty American comedy. Only funny thing about this film is thinking about Todd Philips complaining about “woke culture” as he fills this to the brim with negative ethnic stereotypes, negative racial stereotypes, negative female stereotypes and negative LGBTQI+ stereotypes. There wasn’t even a reason for this to be set in the period it’s in, it doesn’t play into the film at all. Awful. Not funny. At least it was in focus. Copy and paste structure and script from a billion other films. UTTER TRASH.