• Promare




  • Enys Men

    Enys Men

    Recording history as the only sure-thing which anchors time collapsing in on itself through the collision of subjectivity, even if it's "No change" there becomes an annihilation through stagnancy if there is no one there to record. Perhaps that's why she volunteers as The Observer, to make sure there is an outcome whether it's good or bad instead of an indeterminate slurry of temporal confusion.

    Lichen has appeared. Does it make a sound if there is no one around? Does history exist if there is no one to record? No change.

  • Scream 2

    Scream 2


    This review may contain spoilers. I can handle the truth.

    "huh, it would be a cool subversion if there were once again two killers. no way they do that though"

    – me, two minutes before the reveal

  • The Super Mario Bros. Movie

    The Super Mario Bros. Movie

    There was no way this was going to be good, but I was at least hoping it wouldn't be this bad. You pretty much get the exact movie you expect as soon as you see the "Illumination" logo, but I think the crux of all its issues is in how it wants to be a pan-Mario universe epic while having a runtime of 80 minutes (not including credits) and so everything, every character arc, setpiece, plot point, is forced to…

  • Air


    Was mostly on-board with this until the pivotal typical mid-movie "inspirational speech" which really makes transparent how utterly hollow this whole affair is and sours everything retroactively, and the worst part is that it's not even that good of a speech. Corporate hagiography and consumerist aspiration at its greatest (worst); it's pretty clear how this movie is just one giant advertisement for Nike but like, god, Damon's speech really makes it clear just how much this is one giant ad. Just Do It™, or something. Whatever.

  • Three… Extremes

    Three… Extremes


    Possibly the best anthology there is, genuinely not a single weak link among itself which I attribute heavily to the directors of each being already-established directors who are familiar with genre film-making. It would honestly be a misnomer to say this is a collection of horror films insomuch as they are a triptych of fleshed-out dramas with strong horror to them; a bit of a pedantic distinction but what I feel makes these have a longevity that many horror anthologies…

  • Box



    Silent yet rings with utmost clarity, austere but with some of the most evocative imagery, a slowness that steadily unravels the comforts of fiction we encase ourselves in; Miike at his minimalist is about where I think he's most successful and certainly where I like him most, with Box being an impressive demonstration in how much he can strip away at his gonzo idiosyncracies while still retaining an unsettling (enrapturing) fetishism. He does so by framing the unsightly as also…

  • Occult Bolshevism

    Occult Bolshevism

    Less the presence of spirits than the suggestion of their presence, invoking the occult in order to manifest the occult and birth that from the minds that envision said thing. Language itself becoming the medium of which presences are born, but in that case it begs the question of veracity. Can we create presences of history that never existed by editing the truth, knowingly or not? The concept of 'truth' itself is also called into question as to the unavoidable…

  • The Naked Kiss

    The Naked Kiss


    Intense social paranoia magnified until it's manifested physically, the very shame of being found out something which becomes both the haunt and the refuge. There's a strange undercurrent beneath the entire thing which lends the film an uncanniness in all but its heroine, a social pariah who finds herself lying low within the strangeness of suburbia. It's more likely that the town is an exaggerated expression of contemporary social norms (which haven't much changed) but the way Fuller presents it…

  • Coherence



    This review may contain spoilers. I can handle the truth.

    Taps into such a primigenial fear of the self not just in its questioning of whether the self can inhabit the other but also in how the other inhabits the self. The trauma that comes with recognizing the self in a foreign body is discordant and fracturing, a well-worn trope that nonetheless remains effective in its very wrong-ness, perhaps the very definition of the unheimlich, but in a sense this fear is one of an externalization in which the intruder…

  • One False Move

    One False Move

    Idolatry in all its forms shown at first with smiles and pleasantries before it pulls back the curtain and flashes its fangs. There's a particular sense of certain tragedy awaiting its characters on-the-move that initially registers as mechanical, run-of-the-mill even, before blooming into something both beautiful but dark at the end in which the outcome seems to be the only thing that possibly could happen. The title then carries with it a sense of foredestined fatalism in which one false…

  • Mafia Mamma

    Mafia Mamma

    Appeals to my increasingly 'middled-aged mom' sensibilities (only the director of teen-girl fantasy Twilight could make such an equivalent for wine moms) but maybe this speaks more to how my life turned out than anything else; still, there's a certain combination of haplessness and brutality in the whisking away of a (read: the) pushover American suburbanite woman into a combined vacation-like and film-like fantasy of Italy, or at least its signifiers, and that's a wavelength I find not just tolerable…