• Bullet Train

    Bullet Train


    David Leitch has been given too much power in hollywood imo and he chose to exercise it by putting as many hot people as he can find into this whole nothing of a movie but karen fukuhara showed up for like a full minute so at least there's something to be grateful for...? It was tolerable, showed that Leitch can be somewhat funny if he tried.

  • Broker



    Koreeda made forming deep connections with strangers look so easy and natural here it kind of forces us to reflect on how far we have strayed off course as fellow human beings (I mean sure they were trying to sell a baby but that is beside the point). There is an attempt here to gently pry open our hearts which have been shrinking and tightening and clogging up day after day and then fill it with this warm, cozy, nostalgic…

  • Split



    Order is oppression, freedom is chaos.

    A massive bombardment of noise over noise over noise, like the high octane brain activity of a person during the final few micro-seconds before they successfully break out of a coma captured on film. About the halfway point whatever thread that was holding this oddity together into a somewhat coherent structure just snapped causing everything else to short circuit and fry and the entire thing just went into seizure mode, it was mind blowing to watch, shit, it's like putting a defibrillator on both temples. If you love Japanese cyberpunk, do not fucking miss this.

  • Cure



    X marks your carnal desires, expose it for all to see and watch as they try to wipe it, erase it, frantically claw it off the wall if they have to. The messiah has arrived at the beach, he asks: without it what are you? Takabe, detective. Sakuma, psychiatrist. Miyajima, doctor. Fujiwara, headquarters -- empty husks with empty labels, even a dried up monkey corpse looks more alive, so let me ask again, who are you? Inside you there are…

  • Kite



    Feels more polished and more like an actual finished project when compared to Mezzo Forte but god damn is it nasty. The censored version would probably feel like an entirely different film. I prefer Mezzo's lighthearted tone but there's plenty to appreciate here as well, all of which are already present in Mezzo but what sets this apart is how the lighting is emphasized in this, not just for locations and faces but tiny details such as the glitter on…

  • Mezzo Forte

    Mezzo Forte


    Had to seek this one out on a hentai site because of clips of it thats been circulating around twitter for a while now, sadly theres only traces of what could have been a great film/series here hastily edited together with, well, hardcore porn (to secure funding, so I've heard). The glimpse of an unfinished work that we got here though, was great fun, over-the-top violence, blood, shit, androids, explosions, slaps that send people flying, worth sitting through just to…

  • Death Proof

    Death Proof



    Duel for perverts, barefeet, close up, feet up the window, short shorts, close up, linger on barefeet, go ahead and zoom in baby show the dirt on her sole trust me it's essential, toes, lap dance, girl talk (as imagined by a man who had never interacted with a girl?) and some of that sweet, sweet ultraviolence, some real grimy, obscene shit, yet the ending was so god damned purgative you can't help but cheer out loud, girls do get it done.

  • Cléo from 5 to 7

    Cléo from 5 to 7


    Agnes Varda shot Paris the way it was, is, always has been -- like a horror mansion filled with the macabre, bizarre people and bad omens. It's kind of hilarious because Cleo jumping and flinching at every little stuff reminded me of that one homosexual Kath and Kim skit, you know the one with the Lebanese restaurant. In all seriousness this has one of the sickest openings I have ever seen, a very fitting and intriguing introduction to a film that is short and sweet.

  • The Face of Another

    The Face of Another


    I love the surreal elements in this to bits: door opening to hair, cow's corpse by the window, the floating vitruvian man on an invisible board, all superimposed upon reality forming a single contrived mass that is cold, dense and impenetrable. How the off putting set design, wardrobe, blocking, music, and a handful of other details pile on each other to allow the real and unreal to coalesce seamlessly is pure magic. Didn't know that was tatsuya nakadai until after the film, the man is simply incredible.

  • A Grin Without a Cat

    A Grin Without a Cat


    In extreme cases, someone has the power to decide which side of the street you can walk on, and if you pick the wrong side, they'll kick you back into line. So the thing that prevents you from crossing the street is the state, but if you do cross it, and you force the thing to step back, its the state that steps back.

    Marker made one of the best opening montage in history paralleling Battleship Potemkin with revolutions happening…

  • Everything Everywhere All at Once

    Everything Everywhere All at Once


    I cried because I kept imagining what if someone in the future who has never watched or heard of ratatouille somehow found this film first. I also cried when the rock said to another rock "I'm gonna get you!" it was such a small line in such a bizarre scene but it happened as the music soared and I am so, so weak to this shit. There's a strong "we are all just sacks of meat on a floating rock"…

  • Level Five

    Level Five



    It's like trying to sit down and talk about the battle of okinawa but the conversation keeps veering off. After a mere 30 minutes we've covered strategy, consequence, collective amnesia, mass suicides, grief, music, programming, commercials, nostalgia, and poetry. Sometimes, it feels like talking to an advanced AI, but Laura (played by Catherine Belkhodja), staring intimately at the camera whenever she speaks, reassures us we are not. I've watched Level 5 start to end…