• Bones



    After starting with dog harm, we cycle through projectile maggot vomit, gendered violence and plenty of fatphobia.

    The Snoop / Harris scenes and the practical effects made me laugh. I liked returning to the music video sensibilities of the Buffy era for 96 minutes.

  • Kagemusha



    What a gorgeous tapestry of deep colour, with plenty of room for humanity. This film presents an extraordinary vision. I might think more of it, though, if the (admittedly way over-budget) battle scenes stuck closer to the history. What about the rain before Nagashino? What happened to the sieges there and at Takatenjin?

  • BlacKkKlansman



    Despite a great soundtrack, good performances, and interesting concept, I felt this movie dragged and stuttered, before flopping into a falsely cathartic ending. I think the script lacked vision. Why the hell do they have two men playing the same undercover persona?

    Listen to Patrice.

  • Earwig and the Witch

    Earwig and the Witch


    Though not nearly as bad as some have claimed, Earwig and the Witch lacks clear stakes or an arc, and fumbles its resolution. Child abuse goes without comment.

    Without set-piece scenes, character development, plot progression, or hand-drawn art, the film ends up unmemorable. But at least Mandrake expresses himself beautifully and with charm. I like the unconventional couple vibe.

  • Coco



    Watching this in 2022, it feels like a blueprint for most subsequent Pixar and Disney movies.

    I think it drags a bit near the end.

  • The Cabinet of Dr. Caligari

    The Cabinet of Dr. Caligari


    The Weimar experience: you reveal the demented criminal who masterminds all the depravity, and they reward you by locking you up and giving him the key. Hats revolve, brimmed with pigeonshit.

  • Crimes of the Future

    Crimes of the Future


    Giger's eroticism, brought within, fosters an atmosphere somewhere between porn and immersive theatre; but a composition perfect for film.

    Given the over-egged acting and difficult script, I might have preferred less dialogue. I ignored whatever terf politics this film has in favour of enjoying its steaming sensory treasury: abdomens bursting with Sharpied sausages; organic, riveted, chitinous automata; a dark, hot, farting soundtrack; barnacled Cheerios adorning abandoned tugs; rotting, gleaming stick-and-poke membranes; an lust for the seepage from trans DIY; vibrating chairs assembled from unnamed bones; silent, empty streets; and Neo-Aragorn auditioning for Batman.

    Time for the new sex.

  • Like the Clouds, Like the Wind

    Like the Clouds, Like the Wind


    A strange curio, this. For a TV movie, the character designs and animation punch above their weight. Despite appearing to adhere to a historical setting, the plot actually adapts a contemporary fantasy novel. We endure a bizarrely open-minded lecture about gender and sexuality in a 1990 anime set in 17th century China. All in all, I found it rather charming. The story reaches for quasi-epic status, but really just rolls through a bunch of nonsense.

    Shout-out to ancient fansubbers enjoining me 'do not steal'. Reader, I stole.

  • Turning Red

    Turning Red


    The funniest, best-looking Pixar in years allegorises menstruation and competes in the surprisingly active current field of liberal-wholesome Chinese-American mom/daughter dramas. (Canada is America.)

    My bitterness unfortunately forbids accord with reconciliation endings featuring controlling families.

    This movie features the most expressive effects and facial animations I have ever seen in CG. I think the technology has finally started to compete for pizzazz with drawings.

  • The Keep

    The Keep


    I love the schlocky way jargon gets thrown around in this movie. Scleroderma, a rare degenerative condition from which my mother suffers, ails Cuza (McKellen), apparently causing him to confuse imperative with declarative moods; and American with Romanian accents.

    Cut footage makes its absence abundantly known. Abuse and genocide receive depiction devoid of subtlety. The audio mix aggressively sucks. I think the takeaway intends to warn against revenge fantasies.

    For all that, the music (by Tangerine Dream) rules. A beautiful dog briefly features. A smoking beef king slaughters Nazis. I cannot hate such a film.

  • Us



    I guess I don't find 'a good horror movie' particularly interesting.

    The character movement, delivery and musical choices elevate this film. And I can see the agenda about class in the US at the core. But Us just doesn't feel coherently thetic in the way Get Out did, for me.

  • The Acrobatic Fly

    The Acrobatic Fly


    Humans consistently demonstrate themselves unfit stewards of this Earth.