Gh0stman has written 231 reviews for films during 2019.

  • Death Wish

    Death Wish



  • King of New York

    King of New York


    A stone cold masterpiece.

  • Seconds



    Terrifying, because it shows the hollowness of willfully living a life under the eye of authority and the inanition and duplicity of consumerism. Like Antonioni before him, John Frankenheimer deconstructs the foundations of modern life and corporatism through an unshakable aesthetic vision albeit more high-powered here. One of the best films of its time, a time capsule, and Rock Hudson gives his best performance. Would make a great double feature with The Swimmer.

    Also, one of the best shot films I've ever seen.

  • 6 Underground

    6 Underground


    Michael Bay has always been a filmmaker whose images have presided on the precipice of the cutting edge, of the avant-garde. Here, he creates some of the most exhilarating and awesome action sequences, rivaling anything done this year. The film has a sound, concrete narrative structure (if you pay attention to the act breaks, there's five like Shakespeare) and is always in perpetual motion and oscillation with Bay searching for the highest sensory experience that he can generate. To put…

  • The Irishman

    The Irishman


    This review may contain spoilers. I can handle the truth.

    The Irishman is an interesting yet underwhelming experience that reveals Scorsese's inherent weaknesses as a filmmaker. In fact, it's likely his worst film. Perhaps the most apolitical of his New Hollywood peers, The Irishman is Scorsese's large-scale attempt at making a political epic. It is a film that seeks nothing less than a generation defining statement and delivers, but not in the way that Scorsese likely expected. The good qualities of the film are the scope and scale of the…

  • The Elephant Man

    The Elephant Man


    One of the great tearjerkers.

  • The Laundromat

    The Laundromat


    Perceptive, funny, and never less than captivating at any given moment, Soderbergh's The Laundromat is an inventive satire on the perversive and lethal nature of capitalism. Much better than the overrated and toothless Big Short and far more insightful and sweeping in its critique. Much funnier too and without McKay's self-satisfied, neoliberal centrist slant. This is Soderbergh's most Godardian film, reminiscent of his didactic Maoist phase but equipped with a fat Hollywood budget and movie stars. It makes sense that the media and the press both disliked and ignored it because it's about them.

  • Clifford



    One of the strangest Hollywood films I've come across. Despite its PG rating, it's as cynical and bleak as any American comedy I can think of and it has no hope for humanity. It's humor derives from a complete pessimism in the conventions of the bourgeoisie and a resolute disbelief in the American Dream. In many ways, this plays like Disney by way of Bunuel and is surely a precursor to the more modern cringe humor of Tom Green, Tim & Eric, Eric Andre, and Nathan Fielder. I'm certain they're all fans of Clifford.

  • Sunset Boulevard

    Sunset Boulevard


    Still one of the most definitive films about Hollywood, where one will be chewed and spit out by the rich and famous and nobody will really care to notice or give a damn. I can see why it won all the Oscars because anyone who has ever worked on a film in some form or way can relate to Holden's wry, disaffected burnout who is taken advantage of. One of many Billy Wilder's masterpieces.

  • Parasite



    One of the most biting deconstructions of neoliberal capitalism ever. Entertaining as hell to boot. Can't wait for the next Bong Joon-Ho movie.

  • The Parallax View

    The Parallax View


    What once may have seemed far-fetched or ludicrous on its release is now almost quaint and archaic in its surprise of discovering the vast corruption that plagues both the film's fiction and the reality. Still, despite holding little to no surprise regarding its mystery's unveiling, The Parallax View stands tall above a great many other American films of its period not just because of its bold political slant but due its incredible filmmaking and the authentic immersion into the nitty-gritty…

  • The Swimmer

    The Swimmer


    Made and released on the cusp of the disintegration of the white picket fenced suburban self-image of White America and the Old Hollywood studio system, The Swimmer is a film that captures the doubt, paranoia, and fear of a nation and a class of people unable to reflect inwardly enough to imagine a world that could exist without them as well as helping introduce a new found, if short lived, aesthetic freedom and existential concern in mainstream American Cinema that…