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  • Fade to Black

    Fade to Black

    ★★★½

    I blame The Coal Miner's Daughter.

    There’s so much that I love (and kinda relate to) about this, but I can’t help but feel like it sabotages itself when it starts introducing slasher elements around the midway point. Maybe it’s just because of the prominently placed poster in the film warehouse, but the kill scenes just made me think of Tourist Trap. I love that movie, so the comparison wouldn’t be a bad thing if the jokey tone didn’t clash…

  • Zeder

    Zeder

    ★★★★

    Gabriele Lavia (of Deep Red and Beyond the Door fame) falls into a K-Hole (err sorry, K-Zone) and winds up in a fairly effective Italian horror film. It's not the Romerosploitation that the American retitling and poster would lead you to believe, though it does feel like a mishmash of ideas from other Italian and American films -- sort of like one of Fulci's Gates of Hell films meets Evil Dead, except with the gore and general insanity ripped out…

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  • Stop Making Sense

    Stop Making Sense

    ★★★★★

    I read an interview with Chris Frantz a couple of weeks ago where he mentions that the film’s structure — where each band member is introduced one-by-one before being joined by the guest musicians — was meant to tell a (revised) history of the band. It's such a simple concept, but one that speaks volumes about the film as a whole. To me, what sets Stop Making Sense apart from most other concert films is that it’s more than just…

  • Twin Peaks (Pilot)

    Twin Peaks (Pilot)

    ★★★★½

    Mastery of tone. That's my biggest takeaway from rewatching the pilot. I love how Lynch is able to juggle so many different genres -- drama, comedy, high school, horror, procedural -- while still being able jump right back into the devastating soap operaesque melodrama at will. At least a quarter of the pilot is just people screaming or crying, all of which Lynch is able to turn on and off with a fade up of Laura's Theme. A scene in…