I suppose whether or not ghosts exist, they're still real. I expected this to be a sinister movie, and it certainly was in moments, but it reminded me more of Twin Peaks and that show's specific melancholy; there's some visual distortion here too and a play of perspective and motive, but mostly it seems, just heavy grief.
Good god, cell phone footage in the mid-2000s was absolute poop, wasn't it?
There are so many canonized films I've yet to see, but I doubt many can better the pure enjoyment of Slugs. This is such a fun, slimy movie—the gore is gross and bodies erupt in worm-floods and blood bubbles; there's just so much oozy stank and I have to wonder where they got so many slugs and how they cleaned the damn things up every day!
And the characters are just wacky, the perfect tonal match. Slugs and Beware! The Blog would make an incredible double feature.
A pure synthesis of Shyamalan's formal, thematic, and emotional style—a trilogy bow and a career crescendo; anger and compassion in a perfect helix, crisscrossed into jagged catharsis. Shyamalan is an auteur of overflowing empathy and immaculate craft, and Glass is a heart beating with the passion of destined purpose. This film is reflexive and revolutionary—a self-affirmation and a rallying beacon for we the discarded.
Uses comic mythology as confirmation that superhumanity exists in kindness and community, that the broken are…
Five years ago, as I walked out of Prometheus, my imagination was ablaze with the possible trajectories the sequel would go as David and Elizabeth’s journey to their creators continued. That film, while certainly dreary, had a streak of optimism in discovery that high school Austin expected to continue. I was totally unprepared for Ridley Scott to submerge my soul into an inescapable hell.
Alien: Covenant is unrelentingly nihilistic in its philosophy, seemingly suggesting that humanity is a disgusting species…
