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  • Climax




    I've always loved Gaspar Noe as a woozy, sleazy provocateur - someone who usually gets off on the same images he's dissecting. Enter the Void and Irreversible confronted similar passageways of experience and finality, each within the realms of exploitation and absurdity. So his recent dabbles in shock exercises and perversions, whether with his hardcore excesses in Love or the vicious, bubbling toxicity in his recent Climax, have left a lukewarm response in comparison. His latest is stripped down,…

  • Hour of the Star

    Hour of the Star



    An observation of transparency, in all its freedom and entrapment. Has an all-timer conclusion.

  • Scream for Help

    Scream for Help



    "Fine, don't believe me, just wait until he kills you!"

  • Holy Flame of the Martial World

    Holy Flame of the Martial World



    everyone: so what should we put in this movie?

    Lu Chun-Ku: yes.

  • Super Inframan

    Super Inframan



    Brings me to tears. When Inframan does his four-flip activation/charge-up, nothing else matters.

  • Human Lanterns

    Human Lanterns



    Extremely My Shit - a mix of Wuxia, Bava and Hooper joints, as well as Hammer Horror. A skeleton ghoul-man goes to great lengths for the sublimity of commercial success within artistic expression. Switches gears so rapidly and frequently that they manifest physically in the monster's lair. Just stunning to look at and full of impeccable choreography.

  • Widows




    One of the greatest ensemble casts in cinema history.

  • Scooby-Doo! and the Spooky Scarecrow

    Scooby-Doo! and the Spooky Scarecrow



    Definite Halloween staple from now on. Short and sweet. Fun, simple, predictable mystery. Creepy villain. Corn mazes. Full moon. Angry town meetings. It's all here. Close in tone to Mystery Incorporated.

  • Scooby-Doo! & Batman: The Brave and the Bold

    Scooby-Doo! & Batman: The Brave and the Bold



    A mix of flavors and tropes from a history of both Scooby-Doo and Batman media. The central villain isn't interesting or evocative, so that wears it down a tad, but the film is a labor of love and it shows.

  • Bohemian Rhapsody

    Bohemian Rhapsody



    "How many times do we need to teach you this lesson, old man?"

    Abominable. Chickenshit exploitation of queerness and public persona, in addition to being formally inept. Every single element of this movie is subpar, lacking in nuance and a solid foundation of existence. All of the reaction shots are gold - everyone is lost: in geography, character motivation, respect of authenticity or even some semblance of cinematic coherence. Nothing is even remotely aware of its functionality. The film…

  • Green Book

    Green Book



    Everyone is allotted one Forrest Gump in their lives. This is mine.

    Almost entirely based in lies, notions of misconstruing blackness, in addition to plain ole' white savior bullshit. Green Book is embarrassing. And yet, it is, against my better judgement and every fiber of my being as a socially-conscious viewer, immensely watchable, with two tremendous performances at the forefront and handsomely told. Sean Porter's DP work is gorgeous. Mahershala Ali offers a universe of emotion via a shift…

  • Collateral




    Loses itself in the plotting of the showdown, but even that is existentially motivated, visualized via the photo of the island - every presence lingering together, each looking for a getaway. Max, running through the desolate LA streets at 4:00 AM, finds a common denominator within the action of his own story and the ways in which his narrative takes on a cosmic weight. The macro and micro of life. When Vincent is taken for a ride by a…