• Pearl



    Mia Goth’s portrayal of complete madness in the second half is almost unmatched. Unbelievable performance. Too bad the first half is muddled with needless exposition that could’ve been used to show Pearl’s slow decent into psychopathy instead of the quick *snap* that happens a little past the midway point. Regardless, between X and now this, Pearl is officially a horror icon. This is a solid prequel that gets oh so close to getting it perfectly right.

  • Husbands



    Directionless, pointless…like all of our petty escapes from mundanity. Damaged people will never not be broken, scars build a mask thicker than blood. We fake it until we don’t make it, then begins the plunge back into reality.

  • Game Over

    Game Over


    Probably the second best Christmas horror flick after Black Christmas if you ask me. This was surprisingly harsh for what I thought would be a relatively subdued and more laid-back fun home-alone type film, but this was actually pretty brutal and kinda heartbreaking. This has an emotional side that I definitely didn’t see coming. The fun cat-and-mouse sequences and elaborate traps are still there, but this was bleaker than I thought. I meant to watch this last Christmas and couldn’t…

  • The Bitter Tears of Petra von Kant

    The Bitter Tears of Petra von Kant


    HA! That was genuinely one of the best endings in cinema. Fassbinder hits it out the park with The Bitter Tears of Petra Von Kant, his first masterpiece that’s an emotional roller coaster of romantic entropy and self destruction. Performances were top tier, Fassbinder submits himself as a fantastic director and this is overall such a chameleon film for being set in one location. Just an overload of painful emotion that’s hard not to feel one way or another. Powerhouse film right here.

  • Hoodwinked!



    The biggest fucking fever dream of my entire childhood. This was my 12 Angry Men growing up. Idk how this shit was for kids.

  • The River

    The River


    Sometimes there’s a film from a director you love that just doesn’t click with you whatsoever. That would be Tsai Ming-Liang’s The River for me. Just totally missed the vibe. Go next.

  • Faces



    Cassavetes’ frantic and improvisational filmmaking style attacks your senses with such free-flowing realism that it’s hard not to get dizzy mixed up in the inebriated deconstruction of the lives of these two lovers & the various characters surrounding them. Faces is a truly wild emotional ride, definitely an unforgettable one.

  • Duelle



    One thing about Rivette is that he’ll always subvert your expectations. Whether that’s the thematic qualities of the film or the spiritual structure that allows for the story to be told- you will always find yourself dumbfounded at the artistic choices this great cinematic deconstructionist throws at you. Now, from a narrative standpoint I’m not really sure I understand Duelle quite yet, but it’s the subversion of prototypical post-french new wave into a mystical meta dissection of cinema itself that…

  • The Merchant of Four Seasons

    The Merchant of Four Seasons


    Kinda like Bergman and Peter Greenaway found dead in a German alley attempting to conceive neo-realism on entropy. I wrote that analogy last night half asleep so bare with me. I hate using this turn of phrase…but Anna is literally me. Socially deconstructing her spiritually dysfunctional family with brutal honesty in the sharpest kind of way. Few characters in film share such distinct traits with me, but Hanna Schygulla with the help of Fassbinder’s existential musings hit me real close to home. Overall this is an extremely moving, subversive, off-kilter early arthouse film from a very prolific filmmaker that I’m genuinely excited to get into.

  • The White Ribbon

    The White Ribbon


    The evil that men do. It is not tangible. It manifests in different ways, within the dead souls of a tortured generation or in collective psychological discomfort on the brink of global catastrophe. Haneke seems closer to hits roots here in The White Ribbon than ever before- the Bergman/Bresson/Dreyer influence sticks out like a sore thumb, and to Haneke’s advantage. It feels more polished and profound than anything else in his career until this point, and the ultimate culmination of things results in possibly his best masterpiece.

    I’m still trying to reel myself in after this one. Powerful viewing.

  • Zeros and Ones

    Zeros and Ones


    Thank you Ethan Hawke, for your post-film analysis. Not sure if that was the directorial choice I woulda gone with but Ferrara’s doing his thing! This is definitely a film that will feel more profound 50 years from now and mostly be ignored until then. I’m mixed on this one myself. I have faith in Ferrara though, he’s genuinely raw, symbolic & chaotic in a way few filmmakers are. I hope this isn’t the last worthy outing of his career.

  • It's Alive

    It's Alive


    Larry Cohen is the greatest intentionally bad filmmaker of time. I don’t really think there’s a debate.