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  • I Saw the Devil

    I Saw the Devil

    ★★★½

    As a straight up revenge flick, I Saw the Devil nears operatic heights of depravity, and I reeeally enjoyed watching the predator become the prey. As for any sort of meaning, I dunno, I kinda felt that themes were explored as in-depth as the opening Nietzsche quote, though the premise makes for an interesting contrast between the two leads: the scary thing about Choi Min-sik’s unfeeling serial killer is that he is all too human. The scary thing about Lee…

  • Happy Death Day 2U

    Happy Death Day 2U

    ★★★

    While Happy Death Day was a cut above most teen horrors with its time loop gimmick and satirical edge, I found it largely forgettable and wasn’t sure it really warranted a sequel. Happy Death Day 2U feels surprisingly justified. Although it kind of erases the whole universe-life-lesson emotional core by answering questions the first ignored, its shift in genre from horror into sci-fi (the beginning of the Paramore montage sounded a helluva lot like the Weird Science theme) is pretty inspired for a teen slasher sequel.

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  • Glass

    Glass

    ★★★

    A kinda weird amalgamation of previous instalments Unbreakable and Split, Glass is an exposition-laden deconstruction of comic books and superheroes without the familial drama and heart of the pensive former or the psychological thrills of the crowd-pleasing latter. As a closer to the Eastrail 177 trilogy centring on its titular mastermind, for me, I think it works. I’ve been keen for this since Unbreakable. Just a little underwhelming is all. McAvoy once again kills it though, the dude can act.

  • Climax

    Climax

    ★★★★★

    So by now, this is pretty much one of my favourite films of all time. Earns its place amongst the stack of VHS cult classics, Gaspar’s influences, on display during the intro (and in the case of Salò, totally shits all over it). How can something so hellish be so joyous? The opening single-shot dance number to Cerrone’s Supernature; Sofia Boutella’s meltdown—of course set to Aphex Twin—an homage to Isabelle Adjani’s in Possession but played for laughs and probably the…