MALIGNANT (2021) [21/10/15]
i'm a connoisseur of many things. fine art. soap. but one of those things is garbage. pure, fucking, burning dumpster trash. you'll never find a more fun movie than a trash movie, and let me tell you, this movie is absolute, unadulterated, gourmet garbage. it looks so cheap and the writing is embarrassingly bad in the first half but only occasionally funny-bad. i wasn't sure i was gonna finish it. but oh my fuck, the last half hour or so is some of the best schlock i've seen in a long time. i was screaming and laughing at the screen. just thinking about it makes me crack up. i wish i could describe what happens without ruining it. this movie has the same opening scene as Jurassic Park and it isn't about dinosaurs. i wish i had friends so i could make them watch this movie. but i don't. so i'm telling you. WATCH THIS MOVIE. DO YOU LIKE GARBAGE? THEN WATCH THIS FUCKING MOVIE.
BLOW OUT (1981) [21/07/09]
y'all remember when john travolta wasn't crazy? yeah, i don't either. but remember when he was a good actor? that ruled. these days he's such a joke it's easy to forget how good he was in the late '70s - early '80s. for some reason though, i never really heard people talking about Blow Out. and looking it up, people didn't really see it in theaters when it came out. that sucks. cuz this movie is great. it looks fantastic, it has great direction and editing. it's directed by brian de palma for god's sake, so you've got some really impressive split-screen sequences and a lot of technical know-how behind every scene. also john lithgow plays a stone cold murderer. dope.
THE BLOOD OF A POET (1930) [21/07/06]
its always entertaining to me to go back to old movies and see how they did the effects. working around limitations produced some pretty creative stuff in early cinema and maybe no one's creativity shined brighter through those limitations than jean cocteau's. a lot of the camera techniques used in this film are super groudbreaking for 1930 and i think it shows cocteau's skill at approaching different art forms from abnormal points of view, even willing to critique those points while taking them. i appreciate that a weird mouth shows up on the main character's hand and the second he stops freaking out about it he uses it to blow himself. very realistic.
THE WAGES OF FEAR (1953) [21/06/28]
i had always heard this film was one of the best thrillers ever and damn they were right. the first half hour we get to know this small cast of characters, the rest of the movie they are in mortal danger, transporting explosives in trucks without safety equipment. if they hit a bump too hard it could blow them up. so you get "oh shit" moments out of potholes, falling rocks, and shots of tires on the edge of ledges. an overall lack of a score keeps the atmosphere tense, where it sounds like a pin dropping could ignite the whole load. each victory over some obstacle is one that was never guaranteed and one that won't be celebrated long, cuz there's surely something worse right around the corner. hold on tight everybody, it's gonna be a *bumpy ride* hueheuehehehheue
HOUSE (1977) [21/06/27]
what in the hell do you want me to write about this movie? yeah, you. i mean, no, him — i don't know. this is one of those movies that already feels like weird dream i had even though i just watched it. but that's it's reputation i guess. it starts out like a light drama (??) about a group of young friends, each one cartoonishly named after their main traits. so like, later, when Fantasy sees the floating head of one of their friends, they don't believe her. cuz she makes shit up. cuz her name is Fantasy, yeah? there's a lot of early green screen in this movie which is fun. and then. . . i don't remember. i remember a cat. and a lot of blood. and i remember the character Kung Fu taking over the film's genre for 15 seconds at a time. oh shit, i just remembered the piano part! that was great. shit, i'm gonna watch it again. i'm gonna watch it again.
ANDREI RUBLEV (1966) [21/06/11]
i don't really know what to even say here. i don't know how to even begin reviewing this, or even describing. i'm not religious. Andrei Rublev feels like a religious experience. it feels like the best lesson on faith i've ever heard. it's lucky that that lesson in faith is delivered by one of the best directors who has ever directed, and is delivered using some of the most beautiful black-and-white cinematography that has ever been shot. it is simply a masterpiece.