Favorite films

  • Crime Wave
  • Beggars of Life
  • August in the Water
  • Le Pont du Nord

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  • They/Them

  • Help Me... I'm Possessed

  • The Gruesome Twosome

  • Nope

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  • Paris Belongs to Us

    Paris Belongs to Us

    “Rule Number One: Secrecy”
    The Structure of Conspiracy in the Films of Jacques Rivette

    Perhaps it is some sort of conspiracy that Jacques Rivette is frequently written out of histories of the French New Wave? Despite being a part of the Right Bank crew next to the likes of Jean Luc Godard, Eric Rohmer, and Francois Truffaut (who all have cameos in Rivette's early films, including Coup du berger [1956] and Paris Belongs to Us [1961]), and not only acting…

  • Salò, or the 120 Days of Sodom

    Salò, or the 120 Days of Sodom

    Must We Burn Salo?:
    Salvaging Pasolini's Film as a Sadean Object Through Apparatus Theory

    Abstract:
    In this paper I reassess Pasolini's film, Salo (1975), as a Sadean text by means of using the theoretical lens of Apparatus Theory, as Pasolini's film has been unfairly judged by scholars that have neglected to assess the film using this framework. Many publications at the time of Salo's release found that Pasolini's film was not authentically Sadean, however, scholars such as Roland Barthes and…

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  • Daisies

    Daisies

    Daisies is my favorite film, so I'm going to do this review in two sections. I'm going to spend the first paragraph telling you why you should see the film; don't read the rest until you have, and hopefully I'll be convincing enough that you'll spend the next 70 minutes watching it. The rest of the review will explore why this film is my favorite.

    Daisies is fun. It's about having fun and the film itself encompasses fun. The editing…

  • The Conjuring

    The Conjuring

    You know a movie is incredibly fucking terrifying when everyone in the theatre is dead silent. Nobody is on their cell-phone. You can't even hear the munching of popcorn. Finally it reaches a point where several audience members begin to break out in awkward laughter--not because something in the film is cheesy, funny, or stupid, it is because they have realized that a movie has made them reach the point of complete terror and they are laughing to let their…