I should be more popular on here.
Tai Kato's portrait of a serial killer, shot in a stunning black-and-white widescreen where the world itself seems to be stretching and caving in on itself - all distorted reflections and abrasive surfaces. The film opens with an astonishingly brutal murder sequence, and seems at its best when it indulges that kind of ruthless physicality, fully embodying its main character's cold-bloodedness and misplaced anger. The investigation scenes are considerably less compelling in comparison.
A rare slasher that’s both written and directed by women. If it’s not exactly subversive, it does emphasize the genre’s violence toward women by turning every murder scene into a fount of phallic imagery and cathartic castration imagery. Sometimes a drill is not just a drill. Even at 70 minutes it feels padded out- the numerous fake-out jump scares in its first half are pretty boring to sit through - but at least the main cast is charming, and the second half delivers on carnage and absurdity.
This semester, I took a class on post-9/11 media. Collectively, we felt that it would be interesting to watch a conservative documentary to see what kind of tactics were used in comparison to the liberal documentaries we had already watched over the semester. I guess this was the only one available in the library, so there you go. Conveniently, it positions itself as a response to Michael Moore's Fahrenheit 9/11, one of the first films we watched this semester. I…
Pretty much the coolest movie ever made. A propulsive punk rock/arthouse hybrid that manages to be intelligent and critical of its own stylishness yet never comes across as stuffy, pretentious, or too clever for its own good. Olivier Assayas accomplishes so much with just a few guitar notes from Sonic Youth and a repurposed image from Feuillade; the fact that the rest of the movie exists is just icing on the cake. There's a dizzying quality to the way Assayas…