Eva has written 18 reviews for films rated ★★★★½ .

  • D.E.B.S.



    tender and interpersonally eloquent in a way that the 'disney channel original movie ouroborous but the tail its eating is amy heckerling's clueless' kitsch aesthetic doesn't necessarily suggest....what makes it tick beyond the surface tension and surface pleasures is an actual heart (projected into the sky in day-glo pink, of course) and it feels as shoddy and delusional as television and as inescapably, stupidly large and looming as the movies....love it love it so much.....makes me happy....

  • Slumber Party Massacre II

    Slumber Party Massacre II


    practically halfway between Elm Street and Scream in its skeleton, but moderately uncategorizable in the eccentricities of its execution....pastel dreamland suburbia gives way into the empty desertifying frontier nightmare of endlessly iterable americana, and ptsd nightmares go from haunting your sex dreams to dancing a so-phallic-it's-not-phallic anymore symbol into your friends' major organs....also like 45 minutes of it is just girls in cute outfits hanging out and taking care of their psychotic, overstimulated traumatized best friend.......one of the strangest slashers…

  • My Soul to Take

    My Soul to Take


    in an absolutely bonkers minor key, embellished with one of the strangest senses of space and interconnectivity i've seen in a slasher, and traipsing through an absurd wealth of thinly sketched but ultimately quite compelling ideas about trauma and masculinity and mythology, a solid late effort indeed. fractured identities flee into in the next generation, and, failing to escape their pain and guilt, one by one fold back into the lone survivor, as only the living remain to bear witness,…

  • The Iron Rose

    The Iron Rose


    eros and thanatos in the putrefying, lovely memory of no one in particular, a parable of when real and fake flowers ought to be given. bellicose and predatory lust, a fearful and then manic-triumphant chase, just as much an aesthetic companion to Scooby Doo as it is to Ovid, "you dead, we alive" echoing Alucarda's distinction between the worship of life (and the body) and the worship of death (and the immortal soul). truly there is nothing of substance for…

  • Ghost in the Shell

    Ghost in the Shell


    interesting not so much for its surface-level cartesian preoccupations as the tools it gives us for understanding embodiment, affectively and as a social function. we dream and we pass from techne to flesh to digitality and back again, reconstituted identically and yet indescribably different. we meet our selfhood as a reflection and origin, passing through it to once more achieve perception. for whatever it is worth, i "see myself" in the major's joyous plummet and gnawing emptiness: her body, like…

  • The Funeral

    The Funeral


    at the fringes of capitalism and the rotting core of masculinity a series of violent traumas perpetually reinscribe themselves through several generations. frigid Catholic dogmatism falls from the characters' lips throughout and yet its promises and vituperations seem a world apart from these lives of mundane and solipsistic brutality, made tangible only in the inscrutable encroachment of their own mortality. futurity is rejected at the end, but with the same violent means it was once destructively enforced, and the women are left to stitch the semblance of a life back together

  • The Devil's Rejects

    The Devil's Rejects


    "what's the matter kid? dontcha' like clowns? don't we make you laugh? aren't we fucking funny?"

    one of the great American hangout movies, raucous and gleefully uninhibited, far beyond good taste and formal acuity, not to mention anything resembling ethics (but, god, how much empathy there is in this movie). nothing else plays quite like it

  • Hatari!



    a series of impeccable minor scenes strung together with nothing but chill vibes and beautiful landscapes. strangely progressive in how it imagines this utopian cross-cultural space united by intangible codes of (paradoxically gender-neutral) masculinity and professionalism, even if its notions of everyone and everything unfamiliar to the American male are hopelessly exoticizing. surely the warmest and most pleasurable two-and-a-half hours you can spend watching very little happen

  • Simone Barbes or Virtue

    Simone Barbes or Virtue


    the erotic fantasies of men sealed away behind cheap panelling, escaping quietly but audibly while working-class women talk of the world outside as comedy and melodrama. the male gaze scorned by a pair of giant, tacky neon eyes; the vulgarity of the world met with exactly the personal vulgarity it merits. a private joke, told in a dark stretch of road just before dawn

  • Dil Se..

    Dil Se..


    revolutionary politics coiled tightly around romance like bloodstained barbed wire. love is written in torrential downpours and across inhospitable deserts, while idyllic tranquility (pastoral or respectably middle-class) signals its negation. just when the melodrama threatens to become staid, Ratnam returns the world to its most elemental (and most painful). a film made up primarily of the rising and falling of smoke and fire and dust and water. the richness of Ratnam’s blues threatens to drown an entire nation in their depths

  • Pompeii



    probably PWSA's best film: begins with an almost painterly rendering of a brutal exercise of colonial power and then ends with the permanent enshrining into futurity of a romanticized moment of liberation. appropriately, this is unabashedly popular (that is to say, proletarian) cinema, with all the gratuitous exercises in karmic justice and the relegation of actual history to the margins entailed therein. still, despite the tenuous grasp on Roman history this manages to unmask the relationship of spectacle to commerce…

  • Cruising



    Whatever danger Cruising situates as indigenous to the gay S&M scene becomes contextualized not as the result of queerness itself (Friedkin, like Demme in Silence of the Lambs, takes time to specify through dialogue that this world is clearly delineated from ‘normal’ gay life) but as a pervasive hypermasculine ethos which is the result of the internalization of fascist symbolism into the queer community, and which is reflected in the police department’s similarly masculine operations. The more immediate danger originates…