Eva has written 17 reviews for films rated ★★★½ .

  • The Funhouse

    The Funhouse

    ★★★½

    scooby doo but really mean

  • She Dies Tomorrow

    She Dies Tomorrow

    ★★★½

    seimetz's work is fleet and multivalent in its semiotics, not performing arthouse charlatanisms of vaporous suggestion but rather operating in a dialectic between the concrete and abstract realities of affect. this dialectic unfolds in outward-spiralling epicyclic transformations, prominently realized in the rapturous hallucinations that signal the onset of certain mortality for the quotidian maladapted. trauma exists as a half-spoken omnipresence, but moreso in the viscera and microbiome of the film's most aesthetically outre gestures than in its elliptical, temporally disjoint…

  • Midori

    Midori

    ★★★½

    a good account of how misogynistic commodification and consumption of vulnerable girls and their bodies is as much in force at the margins as it is everywhere else, a counterpoint to the fantasy of community in the presence of other freaks which is as bluntly miserabilist in its narrative momentum as possible but whose moments of abstraction are so rapturous that the monotonicity of the rest is forgivable. great gowns, beautiful gowns....maybe pair it with Katherine Dunn's Geek Love? idk

  • Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

    Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

    ★★★½

    a Certified Good Time at the Movies, owning up to the titular character's origins as a literal cartoon character right from the start, less concerned with the kind of faux-verisimilitudinous posturing that seems to infect the aesthetic sensibilities and fight choreography of every superhero movie made in the last decade than it is with being clean, dumb candy-colored fun. definitely aware of its own uselessness as the kind of liberal feminist text its superficial branding and narrative trajectory are trying…

  • Burnt Offerings

    Burnt Offerings

    ★★★½

    a shockingly mean-spirited joke at the expense of the classic family, Karen Black’s Marion a housewife so devoted to her work of tidying and caretaking that she becomes a mere instrument of the home she tends so lovingly, Oliver Reed’s hypermasculine swagger reduced to a child cowering in the corner of a room by a semi-elided childhood trauma, the so-called perfect home feeding on its inhabitants to reinscribe an eternal, ahistorical image of outward perfection and family complete. what a strange, bleak, and ungainly thing this is, and the better for it

  • Time Regained

    Time Regained

    ★★★½

    almost certainly one of the most complex deployments of Ruiz’s style, characterized by a restlessness and constant reflexive (yet propulsive) forward motion that rivals Proust’s own extraordinarily sensuous prose, and a film that is often tremendously moving, which is why I wish I liked it more than I did. unfortunately, as irresistible as this often was on a moment-to-moment level, structurally it’s shapeless and underdetermined, not to mention overlong but still incapable of rendering the obsessions which animated Proust’s work…

  • Bully

    Bully

    ★★★½

    "that's fucking sick, that's gross...nature sucks"

    mostly convincing as an account of white middle class suburban masculinity (yet slightly hamstrung by a shaky understanding of its female counterpart), with the attendant class antagonism and sublimated queerness and systemic failure integrated to varying degrees of success. sometimes eerily plausible, often totally inauthentic, but still Clark has an unexpected (but not unwelcome) degree of formal control here that holds everything together even through the rough stretches

  • House of 1000 Corpses

    House of 1000 Corpses

    ★★★½

    starts out as a chopped-and-screwed Texas Chainsaw Massacre riff with History Channel cryptid documentary aesthetic sensibilities and ends (quite effectively) as an Argento-esque (lol) explication of the logic of a nightmare space. wonderful anti-yuppie propaganda, agitates for the reclamation of trashiness from middle-class suburbanite hacks

  • The Last Airbender

    The Last Airbender

    ★★★½

    against the action movie, some kind of post-wuxia masterpiece about the moments of near-stillness right before a blow lands. absolutely, inarguably a failure as an adaptation, yes, and yet this film is so totally disinterested in ever inhabiting that role that it’s easy to forgive. divests every character of anything resembling human affect and delivers information about the world with a completely alien, almost unintelligible logic (understandable that neophytes are somewhat bewildered), operating in a mode totally orthogonal to every…

  • Election

    Election

    ★★★½

    when people say "socialism or barbarism", this is what they mean

  • The Visitor in the Eye

    The Visitor in the Eye

    ★★★½

    love how this becomes Obayashi's take on Vertigo in the last half hour, which also boasts some of his most beautiful images of nostalgia, the sun shining so blindingly bright that it convinces us of the reality of ghosts

  • Village of the Damned

    Village of the Damned

    ★★★½

    Not just a narrative of reproductive futurity and suburban capitalism self-destructing under the weight of internal contradictions, but also something far stranger and sadder, a study of grief as a magnetic force, an account of the attraction and repulsion between those who have lost. On what absolutely godly tier was Carpenter operating to take this, which should by all accounts be a fairly minor film, and turn it into something so potent?