Favorite films

  • In the Earth
  • Smiley Face Killers
  • The Dead Don't Die
  • Just Beyond the Trees

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  • Austin Powers: International Man of Mystery

    ★★★½

  • May the Devil Take You

  • Scary Stories to Tell in the Dark

  • Fear Street: 1994

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  • True Lies

    True Lies

    ★★★

    The opening genre film abruptly stops so the melodrama can start. The family is saved through its absorption into global conspiracy; Good Violence is that done in the restoration of (familial, national) Order. Cameron knows it's all horseshit so he has the couple renew their vows in front of a mushroom cloud, sex supplanted by the visual (nuclear) pun, sensuality like violence is made Good in the service of familial, national Order. Like really dwelling on the idea that your…

  • Smiley Face Killers

    Smiley Face Killers

    ★★★★

    Squeeky clean and occult, life and death split from the film like oil and water. Smiley Face Killers compresses inner lives and outer ornament into the same immediately accessible glossy plane. But then where other recent works of postmodern flatness (Under the Silver Lake) delight in revealing that conspiratorial systems were never really hidden, in other words externalising every truth at once, Smiley Face Killers always suggests lack instead of surplus. Its emptiness is both plain fact and the sign…

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  • The Dark Knight

    The Dark Knight

    I attended this really wonderful lecture on superheroes and the War on Terror, and how a number of very important comics post-9/11 became self-critical in their examination of states of emergency and exceptional politics, and the autoimmune system that leads to the violent pursuit of 'order' becoming the greatest source of chaos. Because superheroes respond to 'emergency' situations and operate within a non-legal or extra-legal capacity to inflict sovereign violence on the enemy (the enemy itself prone to slippage e.g.…

  • Hereditary

    Hereditary

    Shifts critical-fashionably between polarities of dumb. Hereditary has a secret desire to lose itself to black blooded horror, but it is restrained by Ari Aster's smothering auteurism. The twist is that it's the latter impulse which manifests in ham-fisted cries and hollow shocks, some so shrill that the film inches towards something like a satisfying genre piece. It's kind of hysterical: Collette's gravity defying agony can't steal focus from the smug master crafting callous scenarios in his very own miniature…