Where?
Where do you get the balls to hate on the movie that gets in the time machine to 2005 just to scream ACAB in your face for an hour and a half, pulls out the quadruple twist ending on your candy ass and leaves you sitting in the several different fluids that are now staining your pants to the parting sounds of Mudvayne's diet metal on its way out?
THE best goddamn Saw movie ever made and a bonafide titan of modern horror. And it did it while being the least gory of them all.
Every single time I find myself forgetting the reason why I don't watch more horror movies, one like Hostel comes along and makes sure to remind me.
Underwhelmingly shot and horribly scripted, built on a foundation of stereotypes and misconceptions and proudly bearing Eli Roth's obsession with nudity and other low-brow Z-movie horror tropes, Hostel is an embarassingly inept final product that not only fails to deliver even the most basic of scares, it can't even manage to commit to…
"People, man. People."
Reviewing Crash is something I've been wanting to do for a long time, but I wasn't exactly sure on how to proceed. I'm still not.
There aren't that many films out there more divisive than this one, which, considering what the narrative of Crash tries to show us, is actually quite ironic. But we'll get into all that good stuff in a moment.
Initially, my plan with this review was to come to the defense of Crash.…
Rasganço is... a letter.
Not exactly a love one. Not really a hate one either. It is absolutely in love with the culture it portrays and yet has no qualms with showing its less charming side.
I have to respect that. Even if it doesn't go as deep as I would like it to in some respects.
See, Rasganço is about my hometown. And my town is also the home of what might be the country's most well known and…
