Split Tooth

An independent publication that still believes in long-form film and music journalism. Home of the Cinesthesia podcast.

Favorite films

  • Certain Women
  • Black Christmas
  • Audrey the Trainwreck
  • Buzzard

Recent activity

  • Things We Like

  • Inside

  • Celia

  • The Hands of Orlac

Recent reviews

  • Inside


    'Inside' is the most fucked up adoption story imaginable, a bizarre sendup of the Christmastime fixation on orphans and makeshift family units. Many Christmas films stretch out over an impossibly long, fraught Christmas Eve, but 'Inside' is by far the most harrowing gauntlet ever conceived within this framework. No other Christmas movie can compare with the wringer this protagonist must experience over a fateful holiday evening. That 'Inside' follows through on its endgame is a testament to its brutality and…

  • Celia


    'Celia' tells the story of a child’s first encounters with loss and grief. The film is set in post-war Australia during the communist ‘witch-hunts’ of the 1950s. There is also an invasive rabbit population decimating vegetation and damaging the economy in the Melbourne area where 'Celia' is set. Within this political landscape, the film explores the question of where danger truly lies. We search for an answer in the blur of this complex and corrupt world, as seen through a…

Popular reviews

  • Inside Llewyn Davis

    Inside Llewyn Davis

    'Inside Llewyn Davis' is the Coen Brothers’ most compassionate work. It navigates the problems of getting the artist and their art on film by borrowing freely from the biopic, documentary, and performance film modes. It makes its own mode, a historical fiction film. The songs in the film are all real folk songs that would show up in a sober documentary on the ’60s folk scene (with the exception of the film’s “selling out” novelty number that becomes a hit).…

  • Suspiria


    Much is often made of Dario Argento’s debt to Hitchcock. Saying that someone making thrillers in the mid/late 20th century is influenced by Hitchcock is hardly saying anything at all, but Argento stands alongside Brian De Palma, David Fincher, and David Lynch as one of the directors to most thoroughly and profoundly absorb the lessons of the master. Where he most differs from the others is that, rather than borrowing Hitchcock’s narrative strategies, tension setups or iconography, Argento takes Hitchcock’s…