Christofer has written 16 reviews for films during 2014.

  • Rage


    Nic Cage turns away from the scene and confronts the camera: "Things don’t look so good from where I am". One of the best moments of 2014.

    More here.

  • Godzilla


    Discussed here, along with MONSTERS.

    "GODZILLA (...) is an awry spectacle, which maintains a clear dichotomy between the (predominant) sequences about the characters and those about the monsters. If one part of the San Francisco sequence, when the humans are running for a shelter, initially reeks of cowardice by denying the great confrontation at its center, this is soon justified and compensated in the next scene, with the paratroopers’ jump in the city right after it has been totally transformed…

  • Cecilia



    - (...) "It was just crazy - it was, well, poetry. And poems are usually very short – too short."
    - "We're the ones who shorten poetry to our measure."

    Indeed. Specially if it is lost within decadent softcore where the haute bourgeoisie intellectualizes their actions so every tenet can be perverted and turned into spectacle. What could easily be a celebration of corruption is affectively treated by Franco as a melancholic satire of the sexually explicit soap-operas that this…

  • Interstellar


    Just like in the last Batman movie, for one moment you can see someone actually interested in cinema, almost surrendering to the instinct of making an honest B-movie. Halfway through, despite the irregularity, I believed it would at last abandon Nolan’s most annoying traits and then could end up being just a good, straightforward sci-fi blockbuster, indebted to a dozen other vastly superior works, but still… No. Nolan finally recalls that what he sells is horrible talking and then makes…

  • The Ganzfeld Haunting

    The Ganzfeld Haunting

    “I love the smell of cocaine in the morning.”

    This is the kind of decadent shit I wish we would be seeing from the recent "neo-grindhouse" trend, that instead of adopting outdated conventions with a mocking tone, is more true to the spirit of those movies and so becomes a perfectly conscient product of vague appropriations of ugly, ridiculous and immoral images from contemporary low culture. It could be the intersection between late Lucio Fulci, Tony Scott and the poor,…

  • The Hunger

    The Hunger


    There's no distinction to be made between the "arthouse" Tony Scott of early works and the "blockbuster" Tony Scott of yesterday, after all DOMINO is a radical potentiation of everything present in THE HUNGER. Through a bizarre, music video-influenced montage Scott occasionally manages to achieve something close to filmic serialism (it's not Adrian Lyne at work here), a strong dissonance of sensations. Scott is the only one I can think of who mastered atonal editing within narrative cinema, which might…

  • The Captive

    The Captive


    Egoyan's DEVIL'S KNOT was a work of ultimate restraint, but this is almost the exact opposite. The unashamed weirdness of CAPTIVES just makes it impossible to ignore. This has a strange feeling of late Argento to it, transposing that outlandish sensibility of early gialli to the most banal premises of procedural thrillers, letting the filmmakers' thematic obsessions develop in the most bizarre ways possible, as if the narrative could go anywhere, structuring the whole thing less on plausibility and logic,…

  • Lorna, the Exorcist

    Lorna, the Exorcist


    It is incomprehensible how Jesus Franco could be seen as nothing more than a hack pornographer delivering shit movies specifically for the horny, braindead and decadent audience which consumed and sustained the lowest kind of sexploitation his producers were regularly dumping at that time, because all titles I’ve managed to watch from the hardcore side of his filmography are not far from this one, and it’s hard to imagine anyone expecting to be aroused ending up pleased with the experience…

  • Night Terrors

    Night Terrors


    No matter how dumb the screenplay, how cheap the production and Zoe Trilling's inability to be a convincing human being, this is still the work of a master. Like another ridiculous erotic thriller I've seen recently, Friedkin's Jade, this is conscious, intelligently designed schlock that comprehends the mold it's operating on, allowing thematic inquiry to develop beneath the ugly (and ultimately irrelevant) surface, objectively built as a kitsch stage for an aberrant, "ever degenerating aristocracy".

    I wouldn't trade the opening…

  • Epidemic



    The picture of happiness which we harbor is steeped completely in the time which the course of our own existence has conferred on us. The happiness which could awaken envy in us exists only in the air we have breathed, with people we could have spoken with, with women who might have been able to give themselves to us. The conception of happiness, in other words, resonates irremediably with that of redemption. It is just the same with the conception…

  • Salem's Lot

    Salem's Lot


    "The house was a monument to evil sitting there all these years holding the essence of evil in its smoldering bones."

    Constituted by the same dread and hopelessness that infects every frame of Nosferatu, only transposed to a secularized America. There is no good act, a sacrifice in the end to redeem any of the characters, what stays is the image of an already corrupt city being destroyed, and the screams of its people transformed by said evil, even of those who escape.

  • The Seventh Continent

    The Seventh Continent


    Code Unknown's cryptic montage is already evident here, though not as strong as in that movie. The only character that reacts immediately to a juxtaposed shot is the child, like in the scene where the father sells the car, the pattern is interrupted in a way that none of the following scenes are, during the destruction of the house (until the aquarium is broken), because the girl is observing and reacting to something outside of systematic action, we are not…