• Thanksgiving


    "What sets Eli Roth apart from other contemporary American horror directors is his unique braiding of current issues with high genre literacy. This holds true for his latest effort, Thanksgiving, an anti-consumerist holiday giallo that traffics openly in reflexivity."

    Read my full review at InRO

  • Killers of the Flower Moon

    Killers of the Flower Moon


    America's ultimate cineaste-auteur honors the Western's panoramic grandeur while also reckoning with the colonialist violence endemic to its legacy. Like all of Scorsese's best work, it trades easy moralizing for contention with systemic evil's murky confusion at the level of individual subjectivities.

  • Friday the 13th

    Friday the 13th


    Dismissing Friday the 13th (1980) as a “Halloween knockoff" has become such a commonly parroted criticism that it’s basically devoid of meaning. Horror has always been in conversation with itself, preoccupied with meta-narratives, recycled traditions, recitations, and repetitions. This dates to the genre’s literary inception—consider the classic Gothic novels The Castle of Otranto (1764), The Mysteries of Udolpho (1794), and The Monk (1796), which all engage with found documents, second-hand stories, and intertextuality. Further, Halloween (1978) is—by co-writer-director-composer John Carpenter's…

  • Mystic River

    Mystic River


    Tragedy of contingencies. Eastwood's definitive statement on violence, vengeance, and family. Possibly his greatest film.

  • Sick


    I chatted about this expertly crafted pandemic slasher on Dead Body Bathtub.

    Listen here.

  • Satan Wants You

    Satan Wants You

    "Satan Wants You wisely elides ridiculing the era it depicts, instead level-headedly examining the factors that gave birth to Smith and Pazder’s book and its ensuing cultural hysteria."

    Read my full review (In Review Online).

  • Sympathy for the Devil

    Sympathy for the Devil

    "Sympathy for the Devil works best when viewed purely as a vehicle (no pun intended) for Cage."

    Read my full review (In Review Online).

  • Scarface



    Brian De Palma's take on Macbeth gives bullet-riddled Pacino his Throne of Blood moment, invoking Toshiro Mifune with an abdomen full of arrows, eyes crazed as he witnesses the fallout of his monomaniacal ambition. One of the definitive American texts on capitalism as false dream turned nightmare.

  • Universal Soldier: Day of Reckoning

    Universal Soldier: Day of Reckoning


    The ultimate objet d'art of postmodern pop culture, a landscape overpopulated by remakes, reboots, requels, remixes, reimaginings, returns. Under the auspices of a DTV franchise sequel, John Hyams offers a diegesis on the collective unconscious of 21st century Eurowesternism via visual media collage: this film invokes everything from Grand Theft Auto to New French Extremity to Luis Buñuel to David Lynch's doppelganger nightmares. As an artist, Hyams traffics in the domain of physical violence and the human body, but this…

  • Dead Silence
  • Saw
  • The Conjuring