Dom Sinacola

Former editor: Paste Magazine, Cokemachineglow

Favorite films

  • Harakiri
  • The Bad Lieutenant: Port of Call - New Orleans
  • Beavis and Butt-Head Do America
  • The Virgin Suicides

Recent activity

All
  • The Baron of Arizona

    ★★★½

  • The Night

  • My Son, My Son, What Have Ye Done

    ★★★★

  • Accident Man: Hitman's Holiday

Recent reviews

More
  • The Baron of Arizona

    The Baron of Arizona

    ★★★½

    Colonialism upon colonialism, racks on racks on racks, turtles all the way down. What at first feels like an increasingly goofy lark—when Vincent Price says, "Hi, I'm the Baron of Arizona," this follows him pretending to be a monk for three years, followed by pretending to be a "gypsy" by dressing up like proto-Captain Jack Sparrow—becomes a revelation about how flimsily this whole country was founded on fraud and confidence and sociopathy and marrying 14-yr-olds, all ready to devolve into…

  • The Night

    The Night

    We spend a third of our lives sleeping, how much of our lives is spent departing the night? How much is spent waiting for trains or buses? How many hours have I spent standing around when I could have been departing? Thinking back, probably a lot, but trying to recall what all that time felt like feels like peering through the scratched translucence of clouded glass that defines the liminal space between two sides of a street.

Popular reviews

More
  • Capone

    Capone

    I have been asked by the PR company to take down the review due to an embargo they only just now informed me is in effect.

    EDIT -- Embargo up, here was my original review:

    As redolent of pee and poop as Hard to Be a God; as miserable and creeping as The Death of Louis XIV; very grotesque and dumb. Somehow there is no joy to be had in watching Al Capone in a diaper, smoking a carrot, mowing…

  • Ambulance

    Ambulance

    ★★★★

    “LA drivers! They’re all mamalukes.” - Randazzo, disposable pig-nosed Italian

    I thought of Seijun Suzuki during this, how the audience’s perspective is all that matters, the camera the only source of spatial truth, especially when working in the impossibly small ambulance set against the impossibly sprawling (and geographically absurd) City of LA. This is how Jake Gyllenhaal can hide behind a neon vest with a huge gun, how a man can survive a ruptured spleen and four hands inside of…