Favorite films

  • Fox and His Friends
  • In the Mood for Love
  • Paris, Texas
  • Seconds

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  • Bounce Ko Gals

    ★★★★

  • My Name Is Julia Ross

    ★★★½

  • Mother

    ★★★

  • Crash

    ★★★★

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  • Bounce Ko Gals

    Bounce Ko Gals

    ★★★★

    The high cost of easy money: a new normalcy defined by the standardized practice of men's consumption of what Ko Gals are willing to peddle for cash, relying solely on each other as barriers against the snowballing, malevolent chauvinism that smashes them to stand firmly in the way of what's beneficially more than this. You just barely manage to hold onto a passport and plane ticket for dear life, but what good is escape when you can't pay your way?…

  • My Name Is Julia Ross

    My Name Is Julia Ross

    ★★★½

    Streamlines Ingrid Bergman's exceedingly belabored Gaslight role in service of Nina Foch's similar portrayal of a woman in crisis as tested by a wealthy matriarch and her ill-tempered shitheel of a son. Has the indelible quality of pushing past what it telegraphs with the clip at which it hustles and bustles in tandem with the panicky essence this imposes, adopting a psycho-Gothic tinge in the coded conveying of an independent lifestyle Julia initially pursued, of which is promptly snuffed out by Dame May Whitty x George Macready's joint effort that sees the former as the brains and the latter as loose cannon brawn.

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  • Crash

    Crash

    ★★★★

    A woozy, countercultural wasteland of twisted sexual gratification as molded by Ballard's fetishism and Cronenberg's visual realization of it. The manner in which these individuals navigate this almost purgatorial plane is uncanny, key individuals almost vibrating with anticipation of bodily contact inside or in the presence of gnarled wreckage or anything vehicular, of which is viewed as a sort of collective extension of those who now find release in the "reshaping of the human body by modern technology." Floating like…

  • The Devil All the Time

    The Devil All the Time

    ★★★½

    Undeniably messy and misanthropic as it embraces ironically nihilistic throughlines regarding the unsavory nature of humanity in a specific time and place as a fictional pre-Vietnam microcosm of societal dysfunction and depravity. As Campos' first larger-budget ensemble outing, there's indeed the aforementioned messiness but this rests firmly in his wheelhouse as something obviously dour and godless, and to be honest, he kinda knocks it outta the park. If you wanna watch pretty people looking ugly-ish and absolutely not practice what…