Disco blaring, b-movie madness, the legend Bruce Campbell working at full-tilt groovy-level throughout. Maniac Cop has many a surprise stocked under its belt, not least the stunningly economical car chases, panoramic aerial photography and bitingly prescient themes of police brutality. As expected from this kind of midnight-movie classic, it’s absolutely loaded with synths, schlocky as hell, and plagued by sporadic bursts of weak acting. Does any of this render it a bad movie? Not in the slightest. It’s all worth it to say you’ve seen the one film in which Bruce Campbell is out-chinned.
Surrealism shrouded in hyper-realistic terror, Kiyoshi Kurosawa’s tendency to communicate through the unexplained both obscuring and benefiting his vision. So much of Creepy is articulated through pure atmosphere, the chilling moments preceding a crime opposed to the act itself, or a sudden swell of neon green light, but ultimately there’s too much illogicality to sustain it. We’re all familiar with the common mistakes supposedly smart characters make in horror movies, and it’s much easier to abide when the subject matter…
I’m a failure. I never even finished school. I think about death too much. My brain is a prison. I’m getting fatter. My hair is too ginger in the sun. The 9-5 job I work is mindless. I’m estranged from my family. I’ve had addiction issues for ten years. They’re becoming a part of me. Just when I start to get clean, something sends me into relapse. I’m twenty-four but fifty seems imminent. I have spells of manic depression. Sometimes…
It's impossible for a movie to look better than this.
Where the rambling of an avid film student's critique usually starts with an infatuated commentary on the director, it's hard not to admit that the cinematography for Blade Runner 2049 is the dominant player. Roger Deakins is quite clearly an auteur in his own right, creating an extended universe of his own through the vibrancy of his lighting. Taking the steely blue pallet of Prisoners and merging it with the…