Eva has written 29 reviews for films rated ★★★★ .

  • Patlabor: The Movie

    Patlabor: The Movie


    mechanical "Labors" aligned like pagan idols in an Ark who, its prow sloughed off, reveals itself to be another Tower of Babel, collapsing into the sea under the weight of capitalist, idolatrous folly. a man falls to his death, his demon soul attached to a red-eyed crow, and a flock of birds gathers to commemorate a second Fall not much later. computer viruses play the part of original sin, no trace of the holy to be found anywhere but in the exquisite aesthetics of oshii's elegantly orchestrated pageant, although who is to say what it all means, capital-M, in the end....not i, certainly

  • Fireworks




  • Let's Scare Jessica to Death

    Let's Scare Jessica to Death


    begins so placid, with the approach of a hearse and a lovely tombstone sketch, but builds into genuine hysteria, in an almost prototypical, skeletal sense (this is a "Psychotic Woman" movie stripped to its barest parts and yet to call those parts bare seems to belie their craft and texture, which is exquisite, patient). heartbreaking too, as she doubts herself even to the very end, gaslit and disbelieved and tossed aside and oh so afraid, it's hard not recognize jessica,…

  • Black Christmas

    Black Christmas


    terrifying in its informatic sensibilities, the whirlwind of movement and plotting that denies the characters access to even the fear they ought to feel until their last moments, and exciting for how explicitly it addresses the voyeuristic argument against the genre, counterposing that is in fact that voyeurism coupled with the uncanny displacement of identification, the irresolvability of exactly what the killer is (besides a bare visual-narrative mechanism) that provides the genre with its political vitality. and this is a…

  • Shoot the Moon Right Between the Eyes

    Shoot the Moon Right Between the Eyes


    "you can have whatever you want, you just need to want it, and make it happen....it's a choice. it's a choice we make."
    first time a movie has made me cry in quite some time. love this so much

  • My Bloody Valentine

    My Bloody Valentine


    a relic of the time relatively early in their maturation when slashers were more apt to be strange and casually beautiful and even fun, when instead of being numbingly self-aware regarding the “importance” of their relationship to trauma they were content to be a study of its perpetual reinscription and the attendant effects as death worms its implacable way through a group of people. to confine all of the explication to a single staccato burst of montage only heightens the…

  • Body Snatchers

    Body Snatchers


    works largely by twisting the more-or-less universally adopted reading of the original text, i.e. that it is a paranoiac dramatization of the struggle between collectivism and liberal individualism: the reds are exchanged for the american military, the only character who bothers to actually defend the inviolable sanctity of the individual is in a drug-induced fervor, and the most human moment, per Gabrielle Anwar's Marty, is the pointless, vicious, and prolonged revenge they take on the pod creatures, to no avail.…

  • Halloween



    Michael Myers digs old tools of harm out of the rotting shell of a domesticity he once knew primarily as just a vehicle for inflicting spiritual violence. is it any wonder he tries to reassemble a family by making corpses and digging up tombstones? Laurie Strode nearly tears herself apart crawling and climbing through his nightmare dollhouse of failed connection, until all she can do is scream, dripping with blood and with a face painted shock-white by dust. Zombie's sequel…

  • The Box

    The Box


    keeps appending increasingly baroque moving parts to what was already a fairly complex narrative machine until we feel almost as suffocated as the characters themselves, and ends up as a very moving aestheticization of the violence inflicted in service of maintaining the comfortably upper-middle class family unit, recognizing it as both material, deeply embedded in nationalist frameworks, and inextricably spiritual. after we have thoroughly destroyed each other something worth living for is promised to us in death, “a place where the sidewalk ends and despair is no longer the governor of the human heart”. infinite worlds possible

  • Tetsuo: The Iron Man

    Tetsuo: The Iron Man


    the tension between the easiest and most immediate reading, which is that Tsukamoto might just be dressing up a conservative nightmare about the penetration of the middle-class by encroaching technological advancement and outre sexualities, literalized in the scene where the salaryman is penetrated by a woman with a prehensile metallic phallus, and the obvious glee displayed on every formal and narrative level creates a sort of dialectical space for the anxieties and fantasies of transhumanism to be worked out. in…

  • Looking for Langston

    Looking for Langston


    really compelling in how it moves from archetypal abstractions, suggested in the play of shadows and tableaux vivant, to very concrete and historicized particulars (which don’t overbearingly announce themselves as exemplary or vulgarly functional), e.g. the use of Mapplethorpe’s photographs set in an abstract void where their actual historical context is not elided (the narration makes clear the intended critique) but where the gaze is redirected, the black subject moving freely through these images, liberated briefly from the eroticizing/fixating stare of the camera and the structures of power behind it. incomparably lovely film

  • Don't Go Breaking My Heart

    Don't Go Breaking My Heart


    every emotion is concretized into something tangible (an apartment, a frog, even the skyline of a city), spatialized across the surfaces of sleekly angular modern architecture, or performed as slapstick and pantomime: nothing remains interior here (and thus it is necessarily less moving than something like Romancing in Thin Air, which is defined by its inexpressible lacunae). a frog dies and everything that was stuck in place is released back into the air, made ephemeral once again. pretty vertiginous, like standing on a skyscraper that’s still being built right beneath your feet