• The Backrooms

    The Backrooms


    I'm genuinely in awe at the pure quality of the filmmaking here. I've stated before how I absolutely love creepypastas and its adjacent genres and this is one of the very best works within those genres. This is up there with Hiimmarymary not only in terms of its craft, but in how easily it crates this overwhelming sense of dread. The use of liminal space is some of the best I've come across as Parsons seems to truly understand what parts of liminal space scratch that fear receptor in our brains.

    Utterly essential viewing

  • The Mandela Catalogue Vol.2

    The Mandela Catalogue Vol.2


    The less fragmented nature and more narrative approach to Vol. 2 when compared to Vol. 1 does work at the detriment to the overall creep factor here but man, there are some images here that are still utterly bone chilling. Wasn't expecting what the meowing was actually going to be either so props.

  • 1500 Words

    1500 Words


    Wow doc, the news that I have 1500 words left before I die is poggers, but I need to get back to explaining the Five Nights At Freddy's lore.

  • Licorice Pizza

    Licorice Pizza


    First things first, the age gap discourse is patently ridiculous and isn't my reason for thinking PTA's latest outing is mid as fuck. The ending is so clearly from Gary's idealised point of view that it genuinely baffles me why people are confused as it being portrayed as romantic. Alana literally states earlier in the film "the world doesn't revolve around Gary Valentine" to which Gary responds "yes it does". If that doesn't tell you what PTA was going for…

  • Scream



    Olpin and Gillett take Scream back to its roots of centring the narrative of a metatextual deconstruction of the horror genre whilst also setting a new target in their sights. I can see why some wouldn't like how Scream spent so much time coming for the throats of toxic fandoms but, for me, it was so incredibly satisfying to watch. It shows a mirror to these kinds of people, exposing them for what they really are, lunatics.

    The seething hatred…

  • Powaqqatsi



    Even though it's just as beautifully shot as Koyaanisqatsi is I feel like here Reggio is saying a lot less than he was in that film. The shift in focus from a world consumed by technological growth to showing a developing nation impacted by nations said technological growth is consuming makes for a decent companion piece, but as a piece of work in itself it's severely lacking.

  • The Red Ape Family Pilot

    The Red Ape Family Pilot

    3 Guys 1 Hammer has more artistic value

  • Old Maid

    Old Maid

    Near Bedfellows tier awful. Only slightly saved by the fact the monster doesn't jump right at the camera for the jump scare.

  • Dillinger



    There's something very matter of fact about Milius' representation of the infamous outlaw. Dillinger doesn't have the titular man live in this heightened sense of reality like he does in Mann's Public Enemies, nor is it set in a more romanticised version of the time period like Penn's Bonnie and Clyde is. Rather, it's a no nonsense presentation of the time period and doesn't pull punches in representing what Dillinger was actually like, a violent criminal.

    There's something rather chill…

  • The Mandela Catalogue Vol. 1

    The Mandela Catalogue Vol. 1


    I'll always have a soft spot for Creepypastas and the subgenres that spawned from it. While this isn't the best piece of analog horror out there, that would be LOCAL58TV, it's still pretty damn effective.

  • Encanto



    I don't think Disney has made a film since Lilo and Stitch with this strong of an emotional foundation. The way Encanto delves into what it's like to be the family outcast is truly something special. They put on full display how being "different" in one way or another can be difficult. How despite the things you do being in the best interest of the family, they still look down on you. And if whatever it is you're doing should…

  • Far From the Tree

    Far From the Tree


    Love a bit of breaking the streak of generational trauma before midday