• Love Massacre

    Love Massacre


    i’m a huge fan of how this maximises the impact of violence without really showing much at all. rather than gore or prolonged terrorisation that breaks through the ambience, it’s suddenness and volume that really upheaves it. this framing could perhaps be anticipatory of some of the home-invasion films that take deconstructionist approaches to what they display, ie angst or funny games, but is far less didactic and therefore more effective

  • I Never Left the White Room

    I Never Left the White Room


    a real pointer as to what SOV horror films should look like—images bleeding into images, degradation further degraded—which is why it’s a shame that there’s really dumb dialogue throughout that threatens the impeccable atmosphere. whereas the visuals and sounds feel legitimately malign at times, a lot of what’s said kinda just feels like a goth teenager’s poetry scribbles, and the sexual content less than being disturbing was more reminiscent of the interludes in antfarm dickhole where a woman would dance…

  • Portrait in Crystal

    Portrait in Crystal


    every second spoken line includes the phrase “crystal portrait”. the fight scenes are both choreographically incomprehensible and kinetically genius. no clue what exactly was going on but i can’t say i didn’t have a lot of fun

  • Seeding of a Ghost

    Seeding of a Ghost


    after seeing the boxer’s omen i figured i needed to watch more shaw bros horror and this is probably second most infamous. as expected i liked most of it a lot though the early rape scene is kinda needlessly drawn out. i’m at least glad that unlike other rape-revenge films where the woman in question is killed, ie death wish or last house on the left, here she is partially resurrected in order to help psychically direct gruesome punishments the…

  • Phase IV

    Phase IV


    3.5 with the truncated official ending because of how aggravating it is that the studio cut something that fucking rad out—gets the full 4 if you watch the actual ending on youtube afterwards (the silent end credits over the shot of the sunset are cool regardless but feel far more earned after the original ending’s imagistic freakout). pretty incomparable even if flawed by interference in a similar way to other uncompromising 70s/80s studio pics like the keep, but the key…

  • Nope



    personally i wouldn’t have shot gordy. i’d let him keep going to see if he could break the world record for most people killed by one chimpanzee

  • Retribution



    the last film i expected to see a lionsgate logo before

  • Repo! The Genetic Opera

    Repo! The Genetic Opera


    if surgery is the new sex then explain this

  • The Boxer's Omen

    The Boxer's Omen


    this kinda stuff happens to me way too much

  • Kolobos



    truly fucked vibes, the heightened acting and its mode of address in the first act was on that precipice of too enunciated to be improv and too awkward to be scripted which i love at the same time as i know people (possibly rightfully) wouldn't. then it becomes an argento riff about booby-trapped houses with some hideously grisly images and i also get a great deal of enjoyment out of that. too bad the ending sucks and completely overestimates its cleverness because there's so much i find compelling here otherwise

  • The Sadness

    The Sadness


    kinda dumb on the covid commentary front and doesn’t examine what infected women would do enough (god forbid they could easily outpervert the men if given some more screentime) but also very silly and gruesomely amusing. if don’t look up had a dude’s whole nose getting chewed off maybe i’d like it more. thankfully, apart from one much-discussed scene that while thoroughly unpleasant to think about is very visually restrained, there isn’t a whole lot of sexual violence in this film…

  • Benediction



    absolutely devastating with some of davies’ most accomplished images (the early shot featuring the engraved cross necklace hitting the water is maybe the most blown away i’ve been by a single shot in any of his films). above all makes me think about how in secondary school we studied poems by sassoon and owen yet i didn’t know they were gay until later in life, which in that omission feels like a cross-generational continuation of the half-secrecy the gay men depicted here had to live in accordance to