• Bolero

    Bolero

    A Catholic school graduate with “good girl claustrophobia” globetrots with her buddies, pitifully begging men to take her virginity as if she isn’t Bo Derek. Plodding, pretty gross (d’Abo is 15), and not nearly as interesting as Ghosts Can’t Do It, but for some reason I’m genuinely fascinated with the Derek’s body of work (no pun intended).

  • Victor/Victoria

    Victor/Victoria

    So silly, but also pretty deftly handles gender and sexual identity better than most films, especially considering it’s from the 80s. Perfect aside from a couple details at the end there (meaning: should be more queer)!

  • Leave Her to Heaven
  • Boy Meets Girl

    Boy Meets Girl

    “Understand that women, too, can be violent. Or did you think it was just a male prerogative?” Occasionally really cool and gross. Loved the intertitle cards and the actresses.

  • Magical Girl

    Magical Girl

    Puella Magi Haneke Magica

  • Tomie

    Tomie

    Totally scales back Ito’s signature horror, becoming something (somehow) stranger. Dreamy, willfully vague, and hypnotically meandering. The atmosphere of unease bleeds into every scene, even when nothing’s really happening. Miho Kanno is perfect, the score is great. Very much so my jam.

  • Out of the Dark

    Out of the Dark

    Karen Black! Divine!!!

  • The Happening

    The Happening

    “I’m talking about a completely superfluous bottle of cough syrup. That’s, like, six bucks.”

    The palpable hopelessness and paranoia is pretty effective despite the mediocre writing. Doesn't hurt that Tak Fujimotos cinematography is striking as hell (the construction worker scene is unbelievable). Also contains Shyamalans softest “twist”, his first R-rating, and the most deranged casting. Plants should probably watch this movie!

  • Nothing Underneath

    Nothing Underneath

    Simply delightful. I must know if you can actually order plain, sauceless noodles at a Milan Wendy’s.

  • The Naked Kiss

    The Naked Kiss

    The way this movie communicates its “taboo” (for the 60s I assume) plot points is so intelligent that it almost feels less sleazy than it is. What an opening, what a twist.

  • I Know Who Killed Me

    I Know Who Killed Me

    Tragic how misunderstood and reviled this was/is, because it absolutely rules. If this was released in the 70’s, it’d probably be a giallo classic, but the Lohan of it all is integral for me. Fuck the Razzies!

  • Starship Troopers

    Starship Troopers

    Bug city!!!