Title (Year)
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REVIEW
Title (Year)
00-00-0000
REVIEW
Touch of Evil (1958)
06-02-2025
Ramon Miguel Vargas: A policeman's job is only easy in a police state.
A little difficult to get through because of how infuriating Hank Quinlan was, but so wonderfully shot. Unfortunately brought down a little by sometimes weak storytelling, but I was in awe of the camera angles and shadows the whole time. Peak noir thriller. A really interesting subversion of the god cop/bad cop dynamic too. The ending, where it's revealed the kid was guilty all along, really stands out to me. It recontextualises some of the story and adds another layer of tragedy to Quinlan's moral corruption, but ultimately does not redeem him. Gritty.
12 Angry Men (1957)
04-02-2025
I've seen maybe 400 films in my entire life and this maybe the best one to date. I'm in awe. Rarely have I been as moved by the power of cinema as I am after watching 12 Angry Men. A new favourite and I don't even care that it fails the Bechedel test. I will not soon forget the scene where they all stand in protest of Juror 10's racist diatribe.
I also found it poignant that the Accused's innocence was not at the heart of the conflict, rather reasonable doubt and the flaws of the justice system, especially in regards to marginalised communities, while also being very hopeful about it. Unfortunately a film that will always be timeless so long as the culture of white supremacy remains. Boldly explicit in its claims compared to what else I've seen of mainstream Old Hollywood films, so it's really no wonder Lumet went on to direct a film about a radical anti-war socialist family in the 80s.
The acting and cinematography are incredible and really add to the atmosphere (funnily, I remember thinking some of the framing choices reminded me of Running on Empty and wrote it off as recency bias, only to discover they shared a director.) Some of the best dialogue I've seen in film too, and an incredibly real dissection of human decision-making. Kept my attention throughout and developed the views and relationships of the jurors very masterfully.
Running on Empty (1988)
03-02-2025
God, River Phoenix... Something about the way his roles align with the values he promoted in real life just gets to me, he could have done so much more if his life hadn't been so tragically cut short. Nobody embodies with such nuance the quiet, gentle nature of his characters, and I have to believe it's partially drawn from his own person.
I wish I'd seen this in high school, but at the same time it would have probably broken me. By all means a really cheesy movie, but I'll be damned if it doesn't have heart to it. It would be a lie to say I didn't only pick it up because of my fondness for River Phoenix despite the plot sounding mediocre and boring for my personal tastes. While it could have very easily gone down the route of a dull lifetime movie, the cast really turned it into something special. I didn't really care much about the romance, but fuck the portrayal of family dynamics is so heart wrenchingly beautiful. A quieter teenage angst than the dramatic outbursts often shown on film, but very very relatable.
Silence of the Lambs (1992)
02-02-2025
Dr. Hannibal Lecter: I'm having an old friend for dinner.
Great stuff all around visually. Love how the camerawork forces you to feel as small as Clarice in the male-dominated sphere, mirroring Jodie Foster's physical stature in comparison to the male agents. Anthony Hopkins embodies Hannibal's quietly intimidating (I mean... quiet until he eats your face) nature really well, and is somehow not as off-putting as Mads Mikkelsen's Hannibal. The character I mean, not the portrayal. The relationship between the two is built up perfectly thanks to a mix of cinematic techniques and script, just so much complexity and nuance, especially when juxtaposed with the patriarchal struggles Clarice faces outside the prison. The pacing is also great, with every shot having a purpose. I can't believe I found this boring as a kid.
Perfect Blue (1997)
01-02-2025
One of the strongest examples I've seen of creating mood and atmosphere, I was gripped with suspense and dread throughout, despite catching the reveal quite early. I'm not sure why, but watching Perfect Blue got me thinking of Selena Quintanilla, to the point I had to pause to refresh my memory on her tragedy. I didn't realise how young she was. Funnily enough, I didn't associate Rumi with Yolanda at all, but Me-Mania (I had mixed up her case with Christina Grimmie's and thought Selena was shot at a fan meeting.)
I was bound to enjoy Perfect Blue as someone who is very interested in themes of obsession, parasocial relationships, self-perception and the perceptions of others, and Kon really delivers. You can really see the influences on Black Swan here. I love the surrealism and refusal to give a clear answer, though the Double Bind scenes may seem like a red herring, they could just as easily be the truth. The ending feels incredibly ambiguous to me too, and there is no reason to accept it as objective.
The animation is also beautiful, and it feels like very scene has some form of symbolism or deeper meaning that I'm only realising upon reflection, and I'm sure I will catch much more on a rewatch. And I wouldn't know where to begin talking about everything, so I'll just say I loved the use of mirrors, glass and transitions, specifically the scene where the truck headlights transform into the blinding lights from a stage.
Companion (2025)
300-01-2025
I was sooo worried this would be another Don't Worry Darling situation but I am very very pleasantly surprised. So fun???? Really reminds me of The Stepford Wives and nails on the head men's expectations and desires from women. Big fan of the decision to not sexualise the sex bot which many would have been temped to do, and Iris' (Is that supposed to be Siri backwards?) design. Also love the cutesy retro 60s thing she's got going on and also how that ties into the sort of Madonna-whore complex a lot of men have. It's nothing too groundbreaking or even unique overall but it's so so soooo fun (I like slashers go figure) and rewatchable that I love it anyway. And of course the character played by Harvey Guillén "fall for a guy dressed as a vampire." Also love Jack Quaid typecast as villainous loser.
Promising Young Woman (2020)
30-01-2025
Soooo subversive and feminist of Emerald Fennel to show Cassie being slowly and painfully suffocated but not a single rapist dying. Makes a big deal about how the system failed Nina, only to put justice into the hands of the police. Promising Young Woman almost got it right, the cops don't take her case seriously and Ryan immediately lying to protect himself and his classmates, but still Fennel allows for police cars to "save the day." I don't necessarily think there needed to be a "happy ending", but pretending it's a moment of catharsis with Cassie interfering from the dead undermines the tragedy of it. The death scene was clearly for shock value and was not build up in a way that says anything particularly meaningful.
Also for a film about rape, it sure skirts around it. Yes, part of that can be attributed to the stigma around talking about it, but not even Cassie mentions it in any real depth. That paired with Nina being a faceless, identityless character really puts a bad taste in my mouth. Plus both the characters' experiences with sexual assault directly leading to death is an awful message for a film supposedly about empowerment. So much for survivors learning to heal.
A lot of the script is also awful, like "student film from person who's only learned about social movements and morality from Tumblr" awful. Tropey, cliche, stilted and hollow.
I will say though, I loved the casting and character of Ryan, not a stereotypical uncomfortable "nice guy," (like the Reddit fedora guy archetype who is for some reason an actual character in this film?????) but seemingly kind and charming, really representative of the fact anyone can be complicit and participant in rape culture. Carey Mulligan's performance was also great for the material she was given.
Honestly just the epitome of white liberal "activism," where violence is bad so the only way to get the "bad people" to change their misguided ways is to talk to them, and if that fails, leave everything in the capable hands of the
Laura (1944)
29-01-2025
I can't believe I spent most of the film going "Aww it's so nice for the old man in an old Hollywood film to have a platonic relationship with the female lead for once." I felt Waldo was purposely queer-coded and so did not expect his motivations at all, though I obviously didn't cast him aside as a suspect. Love stuff about our projections of people and how they measure up to the real thing. Also very clear influences on Twin Peaks. I like that you can never quite pinpoint whether McPherson is following up on something for the case or as a result of his own personal interest, but Dana Andrews unfortunately doesn't really sell me as having this fixation on Laura. Would never have thought he was falling for her if not for Waldo commenting on it. His character really did dampen the enjoyment for me, and there's not really the same build up of tension and intrigue I enjoy in other noirs. Can imagine this being incredible as a stage play though.
Blue Velvet (1986)
29-01-2025
Blue Velvet captures a dreamlike state with the most accuracy I've ever seen, and also the feeling of being in over your head thrust into a world you don't understand but won't make any exceptions for you. The beautiful cinematography and colours work well to contrast the dark hidden underbelly of the town. The mirrored shots at the beginning and end of the film completely change meaning, and the faux optimistic ending reminds me of The Nightmare on Elm Street. After everything Jeffrey has learned, too bright, too artificial. Also Freudian interpretations of dreams, anyone? Jeffrey killing Frank for example can be seen as him rejecting the capacity for evil he saw within himself. There's a lot to analyse in terms of symbolism and duality, probably a lot I haven't noticed yet too and I really appreciate that, but honestly, I don't think I liked this much. Which is odd, because I adore Twin Peaks.
A Streetcar Named Desire (1951)
27-01-2025
Allow me to be shallow briefly; I have never understood the appeal of any of those Old Hollywood men (and most contemporary ones) until seeing young Marlon Brando on screen in English class years ago. He’s almost as beautiful as Vivien Leigh here, and casting him as such a despicable character is genius. Turning Stanley into someone who men aspired to be and women to be with perfectly complicates the narrative and emphasises the nuances found in Tennessee Williams’ original play. Plus it doesn’t hurt to have a nice face to look at until Stanley starts being Stanley. I could go on for a while, but a) I'd rather not contribute even indirectly to the romanticisation of Stanley and b) nobody needs to hear me talk about that one scene for hours on end.
I could also write at length about the story itself and all the symbolism and ~themes~, but I’ve spent plenty of time doing that already in high school, so instead I’ll just focus on the film itself. The very deliberate use of lighting and both diegetic and non-diegetic sounds is immediately noticeable, and I can’t help but appreciate how true to text the lighting is, though the sound is slightly more polished and cut down. Blanche’s face falling in dark shadows as she locomotives roar when she recalls Alan is really highlighs how much different mediums can impact storytelling. The light finally cast on Blanche's face as Mitch confronts her harshly highlighting the signs of age on her face is also masterfully done. Of course, the nature of black and white film forces the omission of Williams' use of colour, losing the impact of the Van Gogh painting and poker shirts, but that can't be helped. I do wish, however, that the sounds and music described in the play, such as the Varsouviana, were given the same significance to really emphasise Blanche's internal chaos.
The acting itself is strong on all fronts, Leigh plays the role of a woman wearing a mask so well, and you can see whenever Blanche lets it slip. She's also just the perfect choice on a metatextual level, having once played a Southern Belle in Gone with the Wind like used to be. Despite all the theatricality, Leigh manages to make Blanche sympathetic and relatable in a very raw portrayal of mental illness. Brando too is great, you can really feel the predatory fear and weariness Stanley instils in especially Stella and Blanche, although the toned down nature of the film prevents him from what could have been an even more incredible performance. He's quietly terrifying in the scene where he gets back from the hospital. The two different styles of acting at play also enriches the characters deeply, with Brando's more realistic style suiting Stanley's "common" sensibilities, valuing honesty. In contrast, Leigh's performance is quite obviously a performance, purposefully unnatural and self conscious. Almost like Blanche is trying to be Scarlett O'Hara.
The film is also surprisingly hilarious at points? Stanley pushing Mitch back down into his seat as he told Blanche nobody would get up to greet her and throwing out his boys out of the bathroom one by one elicited more than a smile from me.
Despite the merits of this adaptation, I do find it weakened somewhat as a result of the censorship. Any references to Alan's homosexuality are removed with the new explanation of him simply being "sensitive" diminishing Blanche's guilt, desire to be desired, and themes of sexual repression. Many more allusions to sexuality and specifically virginity are removed too, such as Blanche commenting on the "Madonna blue" of her dress or telling Stanley about her astrological sign — Virgo, the virgin. The rape scene in particular suffers from this censorship with the terrifying build-up from the play sanitised and not truly highlighting Stanley's cruelty or forcing the audience to condemn him in the same way. As I understand, the ending too was only changed so the film could be shown, but it undermines the whole story. A Streetcar Named Desire is not only about Blanche's delusions, but delusion in general, and so it is important that Stella stay with Stanley regardless of her doubts. For this reason I choose to interpret her resolve as temporary, just like when she first runs to Eunice, but inevitably returns to Stanley.
Once Upon a Time in Hollywood (2019)
27-01-2025
The star-studded cast paired with the celebrities they played made every frame feel like a Marvel post-credits scene. Needed more Cliff x Rick, they are lovers to me. Also there's no way Mikey Madison's role and specifically death scene here didn't influence her character in Scream at least a little bit. Also also Quentin Tarantino feet shots are the film equivalent of Stake ads on Twitter dear Lord.
As for the film itself, it wasn't for me. Gratuitous violence against women and young girls just isn't fun, and Tarantino doesn't even try to justify it by demonising the cult. Of course the male death nowhere near borders on this sadism. In fact, the "Manson Family" portrayed here is just a stereotype of the "woke" subsection of society that would dare criticise Tarantino and the industry. He seems to forget the slightly more deplorable facets of the cult, like you know.... the fact they were white supremacists.
This does nothing to honour Sharon Tate at all, who is hollowed out and exploited for this film. But that’s too be expected from Tarantino, who has woven in a disgusting admiration of Polanski throughout the narrative. Not surprising considering it's a film made by an abuser, about an abuser, starring an abuser, inspired by abusers.
All that aside, Once Upon a Time... in Hollywood is also boringggg which is just as unforgivable. If I wanted childish, self-indulgent fanfiction, I'd reactivate my Wattpad account.
Love Lies Bleeding (2024)
26-01-2025
Kind of meh with a ridiculous ending. Somehow I even preferred She-Hulk to this, but I did enjoy the framing of the final shot. Lou Sr.'s hair is certainly something to behold though. Also they knew exactly what they were doing putting that one Pam Grier song on at the gym.
Witness for the Prosecution (1957)
25-01-2025
Better than the entirety of Suits.
Sir Wilfrid is one of the most loveable onscreen lawyers to date and while I had a pretty good idea of what was happening, the final twist took me completely by surprise. Equally amusing and captivating. Every little detail one questions ties together perfectly at the end.
Priscilla (2023)
23-01-2025
Coppola really makes you feel Priscilla's suffocation and loneliness with a cloying puff of pink powder and Chanel N°5. I love the way in which Priscilla's costuming specifically adds to the narrative too, signalling both a passage of time and mental state. Despite this, Priscilla still feels a little emotionally void. You barely get to know the eponymous character, and yes part of it can be attributed to her inability to form an identity for herself trapped in such a relationship, but some of her internal processes would have made this film a lot more fulfilling.
But I do have to praise Coppola for making this relationship near impossible to glorify even in Tumblr gifsets, it is unapologetically depicted as grooming (though once more lacking the focus on Priscilla's reactions which could have make the film shine) and there is not a single moment that could be misconstrued as romantic. I do think it's a little funny that Jacob Elordi essentially plays another version of Nate Jacobs here. I wanted something messier and more raw, condemning Elvis much more explicitly (which to be fair Coppola isn't exactly known for) but this was just... tepid.
The Grand Budapest Hotel (2014)
22-01-2025
Dmitri : If I learn you ever once laid a finger on my mother's body, living or dead, I swear to God, I'll cut your throat! You hear me?
M. Gustave : I thought I was supposed to be a fucking f****t.
Dmitri : You are, but you're bisexual.
Delightful and funny, but also quietly melancholic. I love the framing device and what it says about storytelling. Anderson's distinct visual style is also perfect for tackling themes of nostalgia for a long forgotten past, even during times of hardship. It's good, but I think I would appreciate this film more once upon acquainting myself with Zweig's works.
The Wolf of Wall Street (2013)
22-01-2025
Absolutely none of the charm of Catch Me if You Can but a great depiction of the disgusting and shallow Wall Street culture and the destructive emptiness of capitalism. I find it hilarious people look up to Leo's portrayal of Jordan Belfort when Scorsese doesn't even attempt to make him likeable. Wish there was a little bit more about how the fraud impacted the victims, though of course this is from Jordan's perspective and he couldn't care less. I like what it tries to do but my hatred of finance bros and women being objectified (wow, someone give this guy a medal!) made it a hard watch, which means the film accomplished exactly what it set out to do tbh.
Inception (2010)
21-01-2025
Supernatural did it first.
I first watched this when instead of “X happened before GTA 6” the joke was “before Leo got an Oscar.” I thought it was so trippy and loved it. My mind hasn’t changed much in the years since. Just so fucking good. Love love love the cast (it's so bleeding cute how Nolan needs to put Cillian Murphy in everything) Almost perfect as a bigger picture thing, which is why the weak script and characterisation is so surprising. The only time I cared about the characters was when Arthur and Eames interacted. But other than that, it really artfully takes on the mantle of The Matrix.
There's great stuff not only on the nature of guilt and reality, but also of film. It's difficult not to see Ariadne as a set designer and the others as actors and directors, and the dreams play with time the same way films do. In one of the dreams I believe the hour that passes matches an actual hour in runtime and I thought that was genius.
And, not that it matters, but I'm quite fond of the idea that the all-too-cliche "and it was all a dream" is applicable here, especially the "reality" in which Cobb is an extractor hired by Sato on the run from the cops. It makes perfect sense as the construct of a guilt-ridden mind to justify avoiding his children, and the sequence serves to provide Cobb with the same catharsis he envisions for Fischer. It is the only way all the fantastical coincidences could make sense, and especially tempting to believe with consideration to Ariadne's symbolism. Whether or not the ending is "real," it's clear that Cobb finally moves past his guilt and chooses this version of reality. Would have been really funny if Mal was right all along.
The Curse of the Cat People (1944)
21-01-2025
More than anything, an incredibly heartfelt and caring portrayal of the loneliness of childhood and the desire for parental acceptance at a level I in my ignorance did not expect from a 40s film.. Though this is described as a horror, it instead merely fills me with an aching sadness akin to reading old fairytales such as The Little Matchstick Girl.
The whole film is about being haunted, not only literally, but by the ghosts of one's past. While the Reeds attempt to escape their memories and fantasy, the Farrens are trapped in them. Though not as well developed as Amy's friendship with Irena, their situation is equally tragic, with daughter hopelessly clawing for her dementia-ridden mother's affections. Just as Amy internalises her father's admonishments and sinks deeper into her alienation, Barbara too perpetuates the harsh treatment she faces from her mother.
And of course, Ann Carter's performance ties everything together. She perfectly embodies a sweet little child lost in a world of her own without ever coming across as irritating or bratty, which really emphasises Miss Calahan's point about Oliver's parenting failures in overreacting to a loneliness he himself is partially responsible. The Curse of the Cat People is so ahead of its time for refusing to allow dreamlike childhood wonder to be snuffed out in favour of conformity.
Pulp Fiction (1994)
20-01-2025
Somehow in all my years of life, I've managed to almost completely avoid anything to do with this film and went into it near blind except for that one John Travolta meme and all the cultural references to the diner scene and Mia Wallace (WHICH ARE CRIMINALLY UNDERPRESENT???) but I generally expected to enjoy it. Boy was I Wrong. And I knew Tarantino liked feet and saying the N-word but I could never have guessed how explicitly that would come into play here.
Well, it's pulp fiction all right. I cannot believe this is held up at the film of all time when it's just... okay? The non-linear storytelling and visuals are cool and all, but not really enough to keep my attention. Even these remind me of, strangely enough, fictional director Dexter Banks from The Magnus Archives "All he was interested in doing was recreating things he had seen. Taking scenes and music that he loved from those old, obscure corners of cinema and then constructing whatever patchwork narrative would allow him to shoot his own versions of them."
I guess I'm not a cinephile because Pulp Fiction was just boring to me. Despite my well-documented insomnia I genuinely fell asleep at the 1 hour mark and had to try again. The five dollar shake thing makes me laugh in 2025 though, so it's got that going for it. And Samuel L. Jackson's performance, but you know, that's Samuel L. Jackson so it was going to be a given. Tarantino is also not as funny as he thinks he is.Sorry but 12 year old edgelord humour does not a good movie make. And yeah I get there's stuff about postmodern nihilism, morality and redemption, but I just cannot find it within myself to care.
The Batman (2022)
20-01-2025
I've been avoiding this release for literal years because of the impossibly high expectations I'd set for it in my mind. This was going to be my future favourite superhero movie of all time. If it didn't live up to them, I'd be heartbroken. And boy does it live up. Reeves focuses heavily on my favourite elements of Batman, the noir and the horror (this whole film could literally just be a Saw sequel.)
I was already optimistic at the first crime scene, but what sold me was the use of Nirvana’s ‘Something in the Way.’ Now this is the Batman live action I’ve been waiting for all my life and I should have bit the bullet sooner. It almost feels like a direct challenge to Todd Phillip's Joker by making the Riddler a Redditor fringe type (who, by the way, I was really skeptical about being portrayed seriously, but Reeves and and Dano really make it work, though I wish he was a bit more fun.)
The film's aesthetics were gorgeous, reminding me somewhat of The Crow which is all I really look for in a movie, and really solidified Gotham as it's own place rather than just New York in winter. And I would like to personally thank Robert Pattinson for not doing a Christian Bale post season 4 Dean Winchester voice too. Big fan of how emo, angsty and brooding Bruce is in this iteration and cannot wait to see more of it, if the second part ever gets released.
I will say that the pacing was a little off though with the three hour runtime being absolutely unnecessary, and I wish more of it was spent within the manor with Alfred to really emphasise his bond with Bruce. You don't get nearly the same warmth and banter as in other versions. Much like the ferry scene in The Dark Knight, my favourite scene here was towards the end where Batman is not fighting bad guys, but actively helping people and caring about civilians. While I understand that's probably not really what most viewers of action films want to see, it's so important to show Batman's character development and shifting values in light of his experiences. It's also a lot better at tackling the main political themes than the Dark Knight trilogy (aka recognises the value of the social good over maintaining a police state and keeping faith in broken systems) but still falls short. It's difficult enough when the protagonist is a white billionaire, but Hollywood is too afraid to commit to even trying.
Anyway, I never got the hype around The Dark Knight, it's good don't get me wrong, but nowhere near as ground-breaking as everyone seems to think it is, and while I do have issues with The Batman too, this 10000% clears. Also LOL at fuckass Robert Pattinson in heavy smudged eyeliner moping and telling Alfred “you’re not my dad!” I love emos.
The Dark Knight Rises (2012)
19-01-2025
Bane and his fight scenes are insanely boring to me, but what an ending to a trilogy. I'm so glad it doesn't overshoot and lets the story end where it needs to. I can think of a lot of tings to nit-pick (messy plot, not really any convincing motivations for Bane, neoliberalism, awful fight choreography and even worse portrayal of women... again) but it's a kind of fun movie with a fun cast and I'm very upset Heath and Joseph didn't get to reunite on this set.
Joker (2019)
19-01-2025
This is such a self-pitying incel's wet dream. It's impossible not to draw parallels to the mindsets and manifestos of school shooters, but this commentary is not very well done. Similarly, the film tries to criticise society's failure of the mentally ill while simultaneously villainising and sensationalising them. The discussions of class also simply boil down to "rich people bad" and the depiction of revolution is laughable. There's a thousand different films that tackle all the themes Phillips attempts to here with much more artfulness and nuance. Joker, in comparison just feels hollow.
Of all characters, the Joker is one I've never wanted an origin story for. It's his chaos and unpredictability which makes him so appealing as a villain, but Phillips snuffs it all out for what? Realism? This film also makes no sense within the wider context of Batman. If the Joker is already in his 30s here, will he be fighting the future Batman well into old age? I'm also not a fan of the Wayne's murders being ideologically based, at least not how it's portrayed here.
La La Land (2016)
18-01-2025
I could not understand the hype when La La Land was first released. I've never been one for movie musicals or romances so I was never planning on watching it, but after almost a decade of hearing its praises, a girl gets curious. I'm glad I picked it up despite my bias because this was really visually appealing, but I know what I like and I've been vindicated. Admittedly some good stuff on love and ambition, as well as the sacrifices one has to make for each underscoring the entire relationship. But by so heavily referencing beloved old Hollywood classics, you set yourself up with the same expectations.
Maybe this is just me once again just not liking these genres, but the musical numbers and build up of the relationship felt weak. Chazelle tries to force you to root for the couple through their magical shared moments, but there's no real depth to their romance or individual personalities, other than Sebastian sacrificing his dreams for Mia's sake. I also can't believe with how white the film is considering jazz is a central theme. Sure there are black musicians present, but they are used solely as props for Sebastian's "salvation" of the genre. That's not limited to the music either, the whole film feels very... vapid "L.A" and makes no attempt to unpack this.
It's Such a Beautiful Day (2012)
17-01-2025
Well, that was horrifying. Though I don't love it quite as much as everyone else seems to, it's inarguably incredibly visceral and real. A lot of the feelings evoked by Hertzfeldt could come from my own diary. But I don't know, this feels more like a 2010s YouTube animation than actual film, and not because of the art style — I love the art style. More so the narration and humour if anything. Perhaps it would have resonated more within the cultural context of that era? Though it started strong, towards the middle and end a lot of it felt like Hertzfeldt was just blowing hot air.
Fight Club (1999)
17-01-2025
Cursed to always enjoy homoerotically coded films critiquing consumerism and toxic masculinity by representing them as mental illness that are idolised by the very people they're about for all the wrong reasons </3
Look Back (2024)
17-01-2025
One of the most relatable and touching things I've seen recently. Nails perfectly the true value of art being not in its technical "goodness" or skill, but its power to form community. This is what generative AI image "artists" don't seem to understand. You can really feel the love put into the creation of Look Back . My only gripe with the film is the way in which Kyomoto's death plays out, it feels quite disconnected and could have been integrated better. The brief presentation of grief is incredibly well done and real with all the "what-ifs" at play. God this made me want to both pick up a pencil again and reach out to the artist friends who inspired me more than they'll ever know. I still think of you guys whenever I blow the dust off my sketchbooks.
The Handmaiden (2016)
17-01-2025
Watched the theatrical cut a few years ago, and my mental repression of that time paired with the reordering of scenes made the whole film feel brand new to me. Perhaps due to this, it felt a little drawn out. I'm fascinated by the critique of the male gaze while simultaneously shooting scenes in that manner, rather like in The Virgin Suicides. Some of it can be justified by Hideko's only exposure to such acts being from the pornography she is forced to read, but still it's difficult not to be sceptical at points. For example, there's a reclaimation of the bell story at the end of the film, but the explicit portrayal causes it to undermine itself. The destruction of the library for this reason was so satisfying. The three act structure ran the risk of being formulaic and predictable, but Park tied them together incredibly well with unexpected yet earned twists. There's an odd sort of comedy present throughout too, which I enjoyed but feel often gets overlooked in discussions of the film. Also the multiple references to The Dream of the Fisherman's Wife (a guilty favourite piece of art) paired with Kouzuki owning an octopus of the same species....
Jawbreaker (1999)
16-01-2025
So much to unpack?? The popsicle scene, Marilyn Manson jumpscare, Zach being the only man ever??? Love when gentle artistic brunette boys love their partners and willingly take part in all their schemes <333 Though I have a sneaking suspicion Julie's attention is a lot more focused on Fern. Pam Grier looks so good in this but she is criminally underused and I'm mad about it. A lot of the dialogue is awful though, especially during the very homoerotically charged locker scene and Courtney's whole "Never send a rose unless dyed black as a warning. And if one is sent to you, destroy it along with the sender" spiel. So close to being one of my favourites, but just doesn't hit as much as other similar films from the era. Also probably one of the only movie makeovers I've ever been gagged by (although Fern's original look is ADORABLE and would do numbers on Pinterest today)
So I Married an Axe Murderer (1993)
16-01-2025
MoreThere She Goesand awful poetry than axe murdering :/
Bound (1996)
16-01-2025
Almost fun but I couldn't connect to the characters or plot for the life of me.
Wendell and Wild (2022)
15-01-2025
Honestly I can't really tell who the target audience is, parts of it don't read like a typical children's film but it's a little too sanitised for adults. Of course, children are generally a lot more intelligent than they're given credit for and could quite easily appreciate the concepts presented here, but it just doesn't tend to be a common filmmaking decision. I thinkWendell & Wildhas great ideas and an even better soundtrack (children are also able to appreciate good music and should be taught about it early on lest they become members of a certain fandom I won't mention) but I do feel like Selick and Peele bite off more than they can chew with all the themes and plot points present, the breadth of which aren't explored to their full degree and leave the film overall feeling a little messy and overcomplicated.
The character designs and range of diversity without feeling "tokenised" is really strong here in what feels like a very justified "fuck you" to Tim Burton. I had no idea how much I needed Jordan Peele in a goth adjacent context until now and I need him to keep doing it. Never in my life did I expect to hear X-Ray Spex in a stop motion animation. This film had so much potential it breaks my heart not to see it fully realised.
Edward Scissorhands (1990)
14-01-2025
Edward is so adorable :((( I just wish he was played by literally anyone other than that piece of shit (though I can’t imagine him in a gothic role I think River Phoenix would have captured Edward’s gentle spirit incredibly well)
Nosferatu (1922)
14-01-2025
Unashamed to admit that I too was one of the children who discovered this film from SpongeBob SquarePants. The use of lighting and shadows in this seems to be a lost art and I adore it. We as a society don’t talk about Count Orlok’s shadowy hand groping Ellen enough. I can’t even imagine how it must have felt watching this 103 years ago when Dracula was still a relatively recent novel and horror was not yet a common film genre.
Nosferatu (2024)
13-01-2025
RIP Claudia de Pointe du Lac de Lioncourt, I wish you got to see this 😔
Pretty decent but way longer than it needed to be. I was a big fan of Count Orlock’s framing in the first act, never truly quite visible. The reveal of his face (not in the least because of his goofy moustache) killed some of the horror and tension for me and I wish Eggers maintained the whole “fear stemming from the unknown” thing he had going.
The jump scares too were overkill, I find them a bore in general, but especially here they felt cheap. I'm not a film expert so I don’t have the vocabulary to articulate fully what I mean, but the transition between scenes also left a lot to be desired as Eggers fell back on the same techniques over and over.
As a metaphor for sexual repression and shame it’s fine, but there’s just something about the film that renders it somewhat emotionless/hollow and dampens the impact. Oddly I felt there wasn’t enough eroticism present. More focus on Ellen would have been nice. The final shot of the film was beautiful, I want to own a painting of it.
The Runaways (2010)
10-01-2025
Disappointed at how shallow and "safe" this was. There is no real depth or insight into anyone or anything, and the pacing is awful. Kim Fowley's abuse is also disgustingly santised and rendered near non-existent. But it did convince me to hack off my hair with kitchen scissors (again) so there's that.
American Psycho (2000)
09-01-2025
Rewatch to procrastinate my reread for a 3k word paper I have due on Monday, but I'll leave an earnest review/compilation of my thoughts this time so I can still pretend I'm engaging with the text.
- The title scene is pure art. The portions alone perfectly capture the essence of the film and book
- I find it fascinating how the morning routine scene is intended to seem excessive and slightly concerning, yet mirrors identically the thousands of videos on TikTok and YouTube 38 years after the book's conception. The visual medium makes the parallel all the more clear
- I completely forgot that they both changed the sushi party and turned Vanden and Stash into goths, I ADORE their character design
- Patrick not caring about his image around those who are racialised/he views as inferior a la the dry cleaners. Incidentally, these are also the only people who see him for who he is, whereas his peers and even the white bartender in the beginning ignore his violent confessions/outbursts
- Not quite relevant as a general point, but the identicalness and interchangeability of everyone here is quite interesting if compared with the dehumanisation and similar interchangeability of say... factory workers inSeverance. Something to be said about capitalism consuming everyone, even those who stand to benefit from it
- Not a graphic designer but I hate the surnames being larger than the first name on specifically Patrick and Timothy's cards. They are also all off centre. Subtle differences that suggest superiority when really the cards are all exactly the same right down to the phone number and typos!!
- Not analysis, Carruthers reminds me of Harold fromSuits
- Right after Patrick kills a black man, we see three Asian service workers who are largely ignored. Also ties into racialisation
- Pinstripes do clash with some of Patrick's ties but the outfits just aren't insane enough for me. Would have been a great creative choice if they slowly became more and more lurid and reflected those in the books
- Unfortunately I sound exactly like Patrick when talking to about music. Except I have opinions and he merely regurgitates reviews he has committed to memory, as he does with fashion and food also. Analysis itself is very meta, especially because he doesn't see past the surface of 'Hip to be Square' and recognise it as satirical. Funnily enough reminds me of a lot of male music enthusiasts now too, except whereas he claims to never enjoy a band's earlier works, I've found it tends to be the opposite. They don't like it when their preferred artists become "mainstream" and "sell out" whereas for Patrick it is only then they are acceptable to claim to enjoy. Conformity, consumerism shaping identity yadda yadda. Unironically really enjoy HLATN but discovered them from American Psycho and will never rid myself of the association. Curious to see who they replace them with if the remake is set in the 21st Century. Also just leaned the lil dance was improvised by Bale??? Love him
- OH looking at it from a contemporary perspective, all of Patrick's monologues sound like something an idiot got ChatGPT to spit out in order to sound intelligent
- Valium and the numbing effects of consumerism
- Forgot how fucking funny this film is oml, highlights include Patrick's narration at Paul's apartment and him washing his gloved hands in distress after Luis kisses them. This could potentially signify the extent of his materialism in that he views articles of clothing as extensions of himself
- Patrick still listens to music in private
- His "there are no girls with good personalities" vs when he's around women acting like a gentleman, it's still acceptable behaviour within his little boys' club and conformist, but he accidentally messes up by bringing up the "Ed Gein" quote.
- Booo fake true crime aficionado!! Ed Gein did NOT say that! Not sure if he's just an idiot or if this plays into the mistaken identity motif
- Could potentially compare Patrick's naming of the hookers to the commodification of factory workers and their need to pick out more palatable western names, but this is a stretch.
- Luis being markedly (only slightly) different from the other finance bros with his bow tie and garishly aberrant business card, not only in his sexuality (wish the film did more with Patrick's probable closetedness) but also in that he views Patrick as an individual and cares for him in some way unlike the other vapid empty characters. This is also true of Jean, neither of whom Patrick ends up being able to kill
- Blackness is exploited in order for Patrick to preserve his mask. He talks about "ending apartheid", claims to enjoy Whitney Houston, and uses a showing of 'O Africa Brave Africa' as an alibi. When confronted with a Huey Lewis CD by Detective Kimball, Patrick disregards them as being too "black sounding." Non-whiteness and Patrick's world are at odds with each other
- "Can we talk?" "You look... marvellous." You get it
- Patrick noticing a kitten and smiling saying "Here kitty, kitty" before descending into chaos <333
- Sorry I'm not highbrow or worldly or anything I've come to realise I just really love chase scenes the next 10 minutes of this film come close to Chaplain or Keaton, they're incredible
- The realtor affirming that the real psycho is.... America
- This is the second film I've thought "this is like if Batman was the Joker" about
