Favorite films

  • Black Sunday
  • The Return of the Living Dead
  • King of New York
  • Inside Llewyn Davis

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  • The Golden Glove

    ★★★★

  • The Killing of a Chinese Bookie

    ★★★★

  • Slaughterhouse Rock

    ★★

  • Prey

    ★★★

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  • The Golden Glove

    The Golden Glove

    ★★★★

    Unbelievably nasty, almost gleefully so, in the great Waters tradition. Really liked In the Fade but recall no fanfare for this, which now that I’ve seen it, makes sense. Most self respecting folks aren’t trying to watch this kind of shit. That said, this is quite well made, with sharp and moody photography, and some dare I say quite fun stuff going on with the editing and story structure. The lead performance is so committed and utterly repulsive that it defies…

  • The Killing of a Chinese Bookie

    The Killing of a Chinese Bookie

    ★★★★

    When I say They don’t make um like they used to, what I mean is They don’t make um in buildings with “Looking for button?” written on the door with an arrow pointing to the button 

    ~~~ 

    Connection with 
    Slaughterhouse Rocks: 
    Burgers

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  • Men in Black

    Men in Black

    ★★★

    In retrospect, a transitional moment for US pop movies. Feels like an antique in that it’s a true blue star vehicle and gloopy FX showcase, to say nothing of the concise run time. On the other hand, the script feels at home in the MCU, oppressively saturated in “charm” and quipiness and overlong gags, which work well to drown out some awkward and hectic plot machinations. Hard not to come out smiling, though, when you get this much TLJ, a totally unreal D’Onofrio performance, and Rick Baker working some serious magic. 

    ~~~ 

    Connection with 
    Fantastic Voyage: 
    Little guy inside of a big guy

  • Dead or Alive 2: Birds

    Dead or Alive 2: Birds

    ★★★★★

    Is this Miike's best film? It's certainly his most seamless weave of endearing character study, madcap yakuza fare, and poetic magical realism. Excessive in all imaginable ways, DOA2 is truly astonishing in its ability to balance moments of overwhelming kinetic violence with those of outright serenity. It helps that the plot mechanics here are just lucid enough, at least by Miike standards, though the film is not without its share of cartoon logic, particularly in the bananas final third. Still, it's hard to begrudge the prolific, unrestrained Miike for throwing in the kitchen sink when the results are this breathlessly awesome and sincerely touching.