• Van Helsing

    Van Helsing

    the movie operates on a strict sexiness per scene quota.

  • Brazil


    the platonic form of dreaming the psycho-sexual horror of the late 20th-century western state. this movie easily consumes 1984.

  • Let the Right One In

    Let the Right One In

    when oskar hands the rubiks cube to eli one face is all white except for a square that is red in the corner. when she receives the cube, however, it is all white except for a corner being blue.

  • A Girl Walks Home Alone at Night

    A Girl Walks Home Alone at Night

    couldn't stand this one. all over the place. the premise seemed trite and non-urgent, so could not push through the bad stuff. dnf

  • Suspiria


    there is a glamour to this movie. a strange –almost primitive– magic in the visuals, the sound design.
    my friend tells me this is not a deep film, yet my mind craves that which is hidden. perhaps a cheap trick played with evil women hides something. yet the large portion of this movies' premise and ending feel unearned. perhaps in every sense except stylistic. can a movie subsist purely on style? if so, it almost certainly shouldn't work with Suspiria, what with the all the production artefacts.
    and yet, and yet i remain drawn in by its spell.

  • Only Lovers Left Alive

    Only Lovers Left Alive

    a vampire story about wealth, fame, and privilege in the early 21st century where the main threat to vampires is ennui. only about three things happened. a slow movie that reflects its subject effectively, and methodically, never trying to say too much.

  • Near Dark

    Near Dark

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

    what was nearly an excellent movie left limp and stumbling from an anaemic Hollywood 'romance' that underpinned the plot. the characterization of the vampire troop falls apart as Caleb fails as a vampire, and eventually leaves them behind.

    but we did watch the child exploding (at least) four times.