Brad Bird is kind of like Leni Riefenstahl, in that he is a fascist with a relatively abstract understanding of fascism. But while Riefenstahl applies that formally to fascinating effect, Bird basically just clumsily juggles ideologies in narrative without bothering to put them into proper dialogue and ends up dopily landing on the fascist one. Bird's formal energies go as always into crafting action setpieces, and here he gets halfway towards self critique on that end but the veneer is…

Kiyoshi's Hausu riff showcases a hidden talent for going gonzo. His horror often lies foremost in his imagery so original it scares as The Unknown on its own terms and here he simply gets to unload as much as he can into one film. Living shadows are given the chance to take center stage and terrify, negative space as as a vehicle for horror given a brief time to shine by one of its foremost wielders Kurosawa. It's a stunning…

Absolute trainwreck. I suppose we should go ahead and get the good out of the way to clear the path for My Rant©: Letitia Wright and Michael B. Jordan are extremely magnetic, the former says WHAT ARE THOSE!!!! at one point, and sometimes its aesthetic reaches the lofty heights of a LUC BESSON film!! Like Besson, its worldsense is matter-of-factly idiosyncratic for its own rather weak sake and nothing else's, which is rather emblematic of the film's ultimate championing of…