• Halloween III: Season of the Witch

    Halloween III: Season of the Witch

    ★★★★½

    Happy Halloween 🎃 [5]

  • Eureka

    Eureka

    ★★★

    [52]

    I have a friend who adores this film. In his review, he states, "I think saying this is a film that 'explores trauma' is a pin way too trite for what Aoyama packs into 3 and a half hours here." I consciously kept this in mind while watching the film through the first, second, third, and fourth hour, but still failed to find any thematic enjoyment or depth. Within the first hour, the audience has a very clear outline…

  • Perceval

    Perceval

    ★★★½

    [64]

    Recommended By: Elliott

    Hyper-theatrical and styled in matte, Rohmer completely reinvigorates his method of articulation for his visually glamorous epic. Whereas in the Six Moral Tales, he would portray his themes in a much more austere manner, he opts for a child-like attitude in portraying a fool's obsession with power and control. Initially striking as innocent and curious, Perceval soon reveals himself to be the manifestation of inherent gender bias and privilege, only further magnified by the time period…

  • What Drink Did

    What Drink Did

    ★★★

    [51]

    "A Thoughtful Moral Lesson" is undoubtedly going to rub people the wrong way ("How can I learn anything from a raging racist grrrrr"), but I can appreciate Griffith acknowledging the problem that plagued most 20th century families. It's admittedly heavy-handed and sloppy, but I couldn't care less when it's just so resonant.

    What Drink Did is not a meticulous examination but a mere assertion of a contemporary issue that does just enough to be enjoyable.

  • The Avenging Conscience: or 'Thou Shalt Not Kill'

    The Avenging Conscience: or 'Thou Shalt Not Kill'

    ★★★★½

    [85]

    [SPOILERS]

    In which Griffith portrays man's inherent sin and the potential of evil within all of us. A tug-of-war between personal values haunt the Nephew as he longs for love, yet is anchored by family ties in his petty uncle. Hallucinations and visions creep in, seducing him with temptations of murder. As the rest of the film goes on, Griffith does what he does best within his skill-set of revolutionary framing and engaging story-telling.

    Many people take issue with…

  • 4:44 Last Day on Earth

    4:44 Last Day on Earth

    ★★★★★

    [100]

    But I can see that deep down you're at peace in your heart. You've done the right things. You've done your art... You've done everything that you can possibly do to have a faith in this world that they've destroyed.

    There's gonna be a really big light, Cisco... but don't be afraid of it. It's our love. It's our wisdom. We're going together towards this big light. My heart against your heart. And together, we're taking all beings with…

  • Pink Flamingos

    Pink Flamingos

    ★½

    [27]

    [MINOR SPOILERS]

    Not sure how or why anyone would call themselves a fan of Pink Flamingos. The type of film so obsessed with the idea of its own vulgarity that it tricks people into thinking it has some sense of commitment to its artistic identity. The type of film that people perceive as immune to any criticism as a contrived piece of garbage void of any substance purely because "THAT'S THE POINT, MAN."

    Maybe this just isn't my thing,…

  • Black Cat Mansion

    Black Cat Mansion

    ★★★★

    [76]

    Another ghost story/urban legend hybrid from Nobuo Nakagawa. An ever-so-slight step up from The Ghost of Yotsuya, as he opts for more focused, traditional storytelling about a mansion and the demons that haunt it. Although it possesses a surface-level plot, Black Cat Mansion constantly reveals itself to be more that meets the eye with visual and narrative range, gauging from happily married serenity in cerulean-tinted black and white to vibrant, violent samurai duels. The third act of the film…

  • Halloween II

    Halloween II

    ★★★

    [51]

    —Director's Cut—

    A difficult film to evaluate. I can't help but think I wouldn't have been a fan, had I seen the theatrical cut. Zombie pulls off such an ambitious, eccentric portrayal of familial ties that I wonder how much of the crux of the film would've slicked past the studio filter. White horses and angelic visions interwoven with the grimy slasher make for a fresh interpretation of the Meyers character that feel like a completely singular vision. Whereas…

  • The Driller Killer

    The Driller Killer

    ★★★½

    [63]

    —93 Minute Cut—

    Everything in my previous review still stands. Remains a singular, unique view of the crime-ridden, sludge-tainted New York whose ambition and stubbornness I can't help but admire. The depiction of its degenerate characters and their animalistic tendencies and actions will leave you needing a strong palate-cleanser afterwards.

    Peak pulp.

  • Strike

    Strike

    ★★★½

    [65]

    It's not difficult to understand Strike's cinematic importance. Soviet editing in the silent era consistently manages to be some of the best, most singular I've ever seen. The storytelling it can take on takes a weight off the script's shoulders, while also delivering a unique exercise in conveying its primal, political themes. The way Eisenstein portrays the fight of collectivism against individualism is near-perfect if not for a few scenes and segments that can put an anchor on its pacing.

    Strike is a film that can strike a chord with any audience member. A triumph in fighting for the working class.

  • Sada

    Sada

    ★★★★½

    [82]

    With a large part of the marketing being an attachment to the cult-classic House and an infamous Japanese figure being at the center of the story, I went in cautiously worried that this could result in an irresponsible, disrespectful mess of a film. I wouldn't have been surprised had Ōbayashi taken the easier route of replicating his hyper-stylized attitude while ridiculing the incident that put Sada on cultural radars.

    To my surprise, Ōbayashi completely recognizes the responsibility he holds…