• The City of Lost Children

    The City of Lost Children

    ★★★

    Everything that's lost just longs to be found. In this city of lost children, this search for meaning, for identity, is everything. A macabre fairytale come to life. Vivid and lucid all the same, surrealist expressionism that's spawned from the deepest recesses of one's mind. The City of Lost Children is stylised only as Jean Pierre Jeunet would, in a sort of broken-down carnivale aesthetic. Fitting for a place where the unwanted and undesired roam the streets. Whether they be…

  • Night and Fog

    Night and Fog

    ★★★★

    An utterly sobering watch. Night and Fog asked "Who is responsible?" Film as a form of reparation, confronting us with the atrocities and horrors of the holocaust, and forcing us to come to terms with the darkest parts of our history. Even as decades past and nature reclaims its place, the horror stays. Night and Fog is a cinema of confrontation. We, as a humanity, must relive the horrors of our past, resist the primal urge to look away and…

  • La Jetée

    La Jetée

    ★★★★

    Powerful in its brevity. A film composed purely through association. Strung together through a montage of photos, each image only given meaning by the next, a free-wheeling association that tests the extents of the mind and our ability or perhaps our need to peer into the labyrinthine abyss to search for meaning. La Jetée is film boiled down to its most essential. Noise and imagery coming together in an alchemy that creates another world in between ours and the screen.…

  • Honey, I Shrunk the Kids

    Honey, I Shrunk the Kids

    ★★★

    Honey, I Shrunk the Kids is a classic in the family adventure film genre, and for good reason. Joe Johnston is a great fit for these sort of films, one with a sense of adventure and a heart of gold. A high concept sci-fi adventure that truly begins once the shrinkage has occured. Honestly, the film offers some pretty good practical sets and effects that still kind of hold up or at least gives an endearing quality to the film.…

  • Days of Thunder

    Days of Thunder

    ★★★

    Prominent Directors — Tony Scott

    A Tony Scott racing film should be a sure-fire no-brainer success, and for the most part, that's true. His distinct patented style is a great fit for the sub-genre, and his way of filming the races feel grittier and greasier, much more tactile and tensed than modern-day offerings, such as Ford v. Ferrari, which provide a sleeker, more oscillated experience. Days of Thunder is also what I would like to call a successor film. In…

  • Uncharted

    Uncharted

    ★½

    Uncharted is blockbuster entertainment sculpted in the image of the comic book film. Take any of what's happening out of the context of blockbuster entertainment, or even just the framework of a video game movie and none of it really makes a drop of sense. The film blitzes through the nuance of every scene to move the film towards its end, which unsurprisingly, features an incredibly short epilogue that opens the door for a sequel if box office dictates. There's…

  • Planet Terror

    Planet Terror

    ★★★★

    Prominent Directors — Robert Rodriguez

    Planet Terror is pure bloody pulp. A zombie exploitation horror that's - quite literally at times - balls-to-the-walls and a goddamn splatterfest. It doesn't just lean into its grindhouse influences but is fully submerged in the undesirable, exploitative filthy entertainment of that sort of enterprise. Manufactured film scratches for effect, with an edit straight out of a film reel. Sex and action is always at the forefront, the body a canvas of death and orgasm.…

  • Christine

    Christine

    ★★★★

    A delectable slice of American pie. Americana has always been an image sold to the masses. Picket white fences, automobiles and varsity blues. A blue-skied utopia that highlights American exceptionalism, but perhaps never more than Christine has that image been revealed to be just as it is; nothing more than symbols and ideologies. Films have always been about image-making and giving meaning to the imagery of the screen. Moreso when it comes face-to-face with the most contemporary and classical setting…

  • Starsky & Hutch

    Starsky & Hutch

    ★★½

    Starsky & Hutch is probably Todd Phillips' most accomplished comedy. A spoof film adaptation of a 70s buddy cop action TV show that ran for four seasons that not only borrows the aesthetics of the 70s and 80s, but mimics the filmic look and style of a film from that period. The result is a film that looks straight out of a vintage print. It's the only one of his comedies that attempt to combine any sense of style to his…

  • X-Men Origins: Wolverine

    X-Men Origins: Wolverine

    X-Men Origins: Wolverine is the last of the X-Men film that I hadn't seen and that's mostly because I've been avoiding it. Alas, the completionist in me overpowered my sense of reason and I decided to watch it anyways. This is possibly the worst entry within the X-Men franchise, but if anyone would want to argue for Dark Phoenix or Apocalypse, I wouldn't rebut them. It's only from watching this complete misfire on Wolverine's origins that I've come to realise…

  • American Ultra

    American Ultra

    ★★★

    Jesse Eisenberg is really the steward of indie or mid-budget high concept films. This time, it's a unique action-comedy genre offering done in a semi-punk rock, underground graphic novel sort of style. The plot is a crazy blend of action, stoner comedy, conspiracy thriller, and wrong side of the tracks romance that's explosively fun and utterly ridiculous. It's the sort of film destined to be a cult classic. American Ultra actually offers surprisingly robust action sequences and having Jesse Eisenberg…

  • The Green Inferno

    The Green Inferno

    ★★★

    A sadistic gory gross-out haunted house torture film set in the Peruvian rainforest where a group of student activists are captured and slowly killed by a tribe of cannibals. Besides the ending - which feels like Eli Roth caving in to decency - The Green Inferno is completely debased and aggressively pessimistic, a seeming extension of Roth's world-view. One which claims that no one is good, especially those that claim that they are, and that everyone deserves a gruesome death.…