• A Bigger Splash

    A Bigger Splash

    A Bigger Splash is like a negroni cocktail; sweet, very strong and a little tough to swallow.

    Luca Guadagnino shows what an intricate player he is in this forensic, prepubescent version of Call Me by Your Name. He manages to draw everything out of his performers, starkly highlighted by Ralph Fiennes' expressive act. Dancing his way through the Italian islandscape, Ralph's melodic chops are directly contrasted by a wordless Tilda Swinton. That woman can do so much with just her…

  • Scooby-Doo 2: Monsters Unleashed

    Scooby-Doo 2: Monsters Unleashed

    Godfather Part II for Scooby Doo fans

    Nostalgic cinematism's apex, Monsters Unleashed has a much greater understanding of the source material than its predecessor. Returning to the roots of having a masked person behind the crime, as opposed to making monsters real. It's so meta that the plot sig-zags around the audience until we can't even tell how deep into the bizarre we really are.

    The cast is excellent; with Lillard turning Shaggy into his cartoon self, SMG going full…

  • Spiral: From the Book of Saw

    Spiral: From the Book of Saw

    Sticking to franchises created by James Wan, Spiral is the latest installment in the never-ending river of torture porn. A catalogue filled to the brim with the opposite of inspiration and each piece relying on shock and punishing gore to entertain the audience. Mostly telling incoherent arcs with characters you love to hate, concluding in the most extravagant and ridiculous twists that would make even M. Night himself sweat tears of cocaine-filled joy.

    This one however, throws the gadgets out…

  • The Conjuring: The Devil Made Me Do It

    The Conjuring: The Devil Made Me Do It

    Ah, horror, the sole genre that tries and succeeds to sell tickets based on its very nature. Being quite a big fan of James Wan's previous horror films; be it a gory bloodbath in Saw, tacky puppeteering in Dead Silence or suspenseful dread in Insidious - he always seems to find a balance between entertainment and fright. He likes to put his original ideas into motion and step away to watch another emulate his beginning - often with very disappointing…

  • Ocean's Eleven

    Ocean's Eleven

    These transitions are fuckin' legendary 

    A close to perfect example of show-don't-tell where the entire film is the plan of the heist. 

    Soderbergh directed this like a magician performs a show, keeping the audience guessing while striking when you least expect it. 

    An ensamble such as this usually translates into a relatively mediocre flick, but this is the exception to the rule. What a stylish, star-studded cast that effortlesly glides through this butter induced power show. 

    It just never runs out of steam - a blink and you'll miss it experience with so much value for the money. Absolute banger.

  • Bo Burnham: Inside

    Bo Burnham: Inside

    This is what Dante meant when he wrote The Devine Comedy

    So thoughtful; a serious cry of pure frustration at the comfort of being confined. A person whose only coping  mechanism is to express himself creatively and the mental absolution that comes with collective imprisonment. Bo has previously confessed his admiration yet distance to his audience and how he feels unfulfilled with the callous response he gets from doing standup. He pours his soul out on stage and the only…

  • Jennifer's Body

    Jennifer's Body

    "My tit?" 

    "No, your heart"

    Jennifer's Body is a film that bit the blade due to 20th Century Fox's insecure promotional standards. Its poster, Megan Fox's terrible reputation and the exceptionally bad trailers introduced this as a trashy horror comedy experiment.

    Hailed as the Twilight for dudes, Jennifer's Body stars a man-eating Fox as the hot-for-nothing high school succubus. Massively misinterpereted as a failed parody, it's a thoughtful showcase of the timid perception of feminine adolescense, while at the same…

  • Cruella


    Disney continues their, so far, torrid run of revitilizing lost properties to pad their already bloated catalogue. 

    After the sour attempts with Cinderella and Maleficent respectively, I largely gave up on these live-action re-imaginings and didn't even bother with the PR-disaster that was Mulan

    Enter Cruella - the puppy murdering psycopath that every child looked up to growing up (?). Embracing one's uniqueness has always been Disney's golden ticket appeal to the masses and in an era tinted by revolt…

  • Don't Look Now

    Don't Look Now

    Don't Look Now is a mesmerizing piece of a terrifying puzzle. Nicolas Roeg’s uncanny masterpiece popularised the classic scary-movie template of starting off with a family tragedy, followed by a therapeutic escape to a different country, an illusory stop to the bleeding, then pivot to a horror nightmare. He did this in such a way that the grotesque denouement appears to blossom as a mysteriously logical escalation of that initial trauma.

    The color red is elegantly controlled by Roeg as…

  • Vertigo


    Whenever you hear about a so called “best movie ever” it's almost always followed by an eye-roll. But the inherent intrigue attached to such a statement serves its purpose in bringing it to your attention at some point in your life. Vertigo is the perfect example of that – lauded by critics everywhere – raking in unanimous love from most everyone who sees it. But it wasn’t always like that. The film has been subject to a turbulent journey of…

  • Army of the Dead

    Army of the Dead

    I’m fairly certain the opening credits were longer than the declaration of independence. 

    Hot people blasting zombies to pools of blood for two and half hours shot on what appears to be the iphone portrait mode.

    Snyder turned his brain off and taped his finger to the trigger. The man has turned ’assemble a team’ into an auteuristic trademark. 

    To his credit, a heist movie set in a zombie apocalypse is a somewhat unique spin. But just because you release…

  • Daisies


    Daisies sees a ditsy color splurge advance in dream-like fashion, with two women relishing in life’s ordinary pleasures. Accompanied by nonsensical verbality and animated expressions, they remark on their spoiled contemporaries and decide to be spoiled themselves.

    A roaring radicality in the mid 60’s, Daisies is surgical in portraying its political undercurrent. Draped in dadaism, the film satirically pokes holes in the fragile architecture of the Soviet Union, pointing several fingers at classism and topical greed. 

    Not stopping at the…