Adam

If it's Oscar-nominated, Australian, found footage or made-for-television, it's hopefully already in my watchlist.

Favorite films

  • Days of Heaven
  • Who's Afraid of Virginia Woolf?
  • Kiss of the Spider Woman
  • The Last Picture Show

Recent activity

All
  • Invaders from Mars

    ★½

  • All the Beauty and the Bloodshed

    ★★★★

  • Thief of Hearts

    ★★★

  • Quicksilver

Recent reviews

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  • Invaders from Mars

    Invaders from Mars

    ★½

    Alien takeovers of Earth don’t get much more boring than this. It feels like a genre film for ages twelve and under — and nobody else. Poor Louise Fletcher deserved better.

    24/100

  • Thief of Hearts

    Thief of Hearts

    ★★★

    Where has this movie been all my life?! It’s the kind of wacky erotic thriller and trashy camp classic I’m always on the hunt for. Steven Bauer burns a hole through the screen, which makes this hilariously lopsided since Barbara Williams absolutely does not. Her character might be the worst interior designer in film history.

    58/100

Popular reviews

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  • My Best Friend Is a Vampire

    My Best Friend Is a Vampire

    ★★★½

    Using vampirism as metaphor for homosexuality long before it was cool, this is surprisingly thoughtful for a teen horror comedy. The messaging is progressive despite not actually having a gay character. Among the highlights are Robert Sean Leonard's awkward coming out speech (as a vampire, of course) and his parents mistaking him for gay, reading guidebooks on the subject, and accepting him before being corrected. It's entertaining watching Leonard come to terms with himself and he's an affable, awkward teenage…

  • Little Women

    Little Women

    ★★½

    The height of hubris for Gerwig to think she could improve upon Louisa May Alcott’s structure. By fracturing the timeline, it cuts most character arcs off at the knees. Emotional moments are dulled or simply don’t work. To compensate, the tone is manic as characters are constantly breathless, giggling and smiling to suggest connections that otherwise aren’t established. Contrasted with Gillian Armstrong’s warm, heartfelt, definitive 1994 version, it’s an abject failure.

    45/100