• Vampire's Kiss

    Vampire's Kiss


    Wasn't sure what this was about but didn't expect it to be a horror-comedy critique of labour relations with one the greatest Nic Cage performances ever recorded. 🙏 Wasn't ready for this one

  • Bram Stoker's Dracula

    Bram Stoker's Dracula


    Saw this on the big screen and, you know, it just works so much better. One thing I realised is that they really don't make films like they used to. Gonzo dissolves, obscene cuts succeeding brash camera movement, intricate and lavish set design, colour! It's got me thinking a lot about the theatre experience, the insipidness of modern filmmaking, and the bankruptcy of our methods of cultural and media interaction in most supereminent age of alienation and atomisation.

    So many…

  • The Slumber Party Massacre

    The Slumber Party Massacre


    I loved the way director Amy Holden Jones and writer Rita Mae Brown decided to just show us the face of the evil, no gimmicks, just here he is. Your seemingly average looking, perverted, middle aged white man. Most slasher films can't do this. As men, if we are shown just some average looking dude, told 'this is the evil', we'd be like 'we'll just knock him out', exactly like the two young lads attempt to do half way through…

  • Dream Work

    Dream Work


    Peter Tscherkassky has trapped the spectral beings inside celluloid for our protection. Unfortunate for those captured on film.

  • Tenet



    I've been thinking about Tenet quite a bit since I watched it a few days ago. I keep recalling Sontag's 'Against Interpretation' and its defense of art as something that should be immediate and sensual against the delimiting requirement of the modern world, and the modern critic, for interpretation, understanding, and categorisation.

    "... interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of…

  • Speed



    I'm just absolutely convinced this is the greatest of all time. It's so impeccably tight in its scripting and direction. Bullock puts in an all time best performance that's so delicate that I never appreciated it fully before and De Pont's framing, particularly in the finale, is pure class. Almost always forget how funny it is too. Tight as fuck man. A film that completely justifies itself at every moment - important when you're going for triple ending madness. It's absolutely fucking nuts and I love it. Masterpiece. 👑

  • Violence at Noon

    Violence at Noon


    Initially played as a hyper-noir that descends into slow burning, but still kinetic, horror, Oshima is as radical, if not more so, than anything Godard put out in the 60s. Funnily, critics once called Oshima 'the Japanese Godard', to which he decisively rebutted, "Godard is the French Oshima." This isn't a competition, of course, the similarities between Godard and Oshima's formal experimentation are similar but wholly distinct and naturally we are all better for it. But nothing is as impressively…

  • Elvira Madigan

    Elvira Madigan


    A delicate Dreyerian chamber piece; subtly and beautifully realised. Pia Degermark is otherwordly.

    I wonder if Terrence Malick ever saw this... truly the days of heaven.

  • Last Year at Marienbad

    Last Year at Marienbad


    Pure sensory meditation on consent and the fragmentary nature of memory and self in the wake of incommunicable trauma. Seyrig is perfect. Resnais and Robbe-Grillet, masters.

    Misunderstood. By me 8 years ago, and by many for the last 50 years.

    A feminist masterpiece.

  • Boat People

    Boat People


    My first Ann Hui picture and it's clear that she is a monumentally talented filmmaker. 'Boat People' exists within the same realms of beauty as revered fellow Hong Konger Wong Kar-wai’s work; a combination of vivid colours, contrast and intense and dynamic camera movement clearly influenced by New Hollywood and American B-Movies. And it’s exactly its formal presentation, as well as its stirring narrative beats, that makes it particularly difficult to work through the film's convoluted political orientation. This is…

  • Cosmopolis



    Understood this one a bit better than the first time I reckon. Still clinically cold, surgical and distant and still for the better. Cronenberg discusses this distance and amoralism with J.G. Ballard about Crash. Cronenberg wants to keep distance so as to not derange the film with a false moralism that would undermine his characters and insult his audience. Something a lot of contemporary film makers could learn from.

    Also; a Bakunin quote gets dropped and I now recognise it…

  • Nope



    Needed less Steven Spielberg and more Junji Ito.

    Like I've said about almost every Peele joint so far; I like what he's trying to do but it just never comes together.

    Some fantastic images but overstructured and too long. Just let a scene play out my man you don't need to cut!! 😩