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  • Life



    On the drive back from the cinema I noticed a big bug stuck outside my car window, found myself instinctively checking that the window was shut.
    Found this surprisingly solid, tense and fun.

  • Mulholland Drive

    Mulholland Drive


    Vertigo has become a part of the cinematic unconscious, assimilated by makers of films, makers of dreams. But I think no other movie has truly in common with it its deeper aspects; the underlying pain and heartbreak, how that is then tied in with the cinematic lie. How it reflects back to us our desperate longing for that lie.

    "Kill the lights."

    PS the scene building up to and including the discovery of the corpse is terrifying in a way most current horror filmmakers can't even approach. Everything about it down to the lighting, and of course the idea of what is really happening..

Popular reviews

  • Mirror



    “We can express our feelings regarding the world around us either by poetic or by descriptive means. I prefer to express myself metaphorically. Let me stress: metaphorically, not symbolically. A symbol contains within itself a definite meaning, certain intellectual formula, while metaphor is an image. An image possessing the same distinguishing features as the world it represents. An image — as opposed to a symbol — is indefinite in meaning. One cannot speak of the infinite world by applying tools…

  • Interstellar



    Nolan films tend to bludgeon, they lack lightness, thats not necessarily a bad thing if applied to the right material, he is good with grounded technical subjects; thats his forte. But when he wants to get into the more abstract, or poetic, or dream like, he's not as effective. Its why Inception to me did not work; dreams tend to have a light, more transparent, abstract quality, Nolans style is the opposite of that. I also find that lot of…