• A Clockwork Orange

    A Clockwork Orange


    A Clockwork Orange is a strange, jarring, disturbing vision of futuristic ultra-violence; a deep, psychedelic question of duality, rights, morals, and our evaporating humanity, posing itself as a broad study and hypothesis of what our future, government, and ideals may look like as time elapses. It attacks Kubrick's usual broad ideas, instead now purely in a dystopian format. And even though it’s nowhere near as strong as some of his other features, it still puts other members of its genre…

  • Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan

    Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan


    Borat! Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (which I will now only refer to as “Borat”) is (and probably always will be) a film that has surely caused widespread anger amongst audiences from all political perspectives. Yet its seemingly offensive promotion of stereotypes ultimately serves to achieve a greater end that perhaps justifies the means, revealing the widespread cultural ignorance that exists all across the United States. Yes, it is arguable that some aspects of…

  • Funny Games

    Funny Games


    Film #12 of Spooky Season 2022

    Funny Games can only be described as one of the cruelest thrillers ever conceived, gleefully posing itself as a rather sadistic take on the classic genre. Its unique, unorthodox approach – which at points almost feels blatantly unfair – will inevitably drive some viewers away, but for others it will serve as a fascinating look at the media’s fixation on violence, dissecting its genre right down to the core, completely subverting distinct norms and…

  • Rosemary's Baby

    Rosemary's Baby


    This review may contain spoilers. I can handle the truth.

    Film #11 of Spooky Season 2022

    In many, many ways, Rosemary's Baby is impressively similar to Chinatown (1974), boasting a conspiratorial plot, a tight, taut atmosphere built around an impending sense of doom, and an ending that leaves the viewer shaken. Thematically, the two are similar as well, with Rosemary's Baby presenting concepts about humanities association with evil, and our inevitable embracement of the darkness. Perhaps the only thing that separates the two is their genre – whereas Chinatown defies…

  • The Shining

    The Shining


    Film #10 of Spooky Season 2022

    There is nothing like revisiting Kubricks The Shining, a complex vision of transcendent horror that not only stands alone amongst the brethren of its genre but in the world of cinema as a whole. Even after watching the film for the third time, it’s challenging to not ask dozens of questions once the credits begin to roll – is the hotel full of lost spirits? Has Jack’s essence always been there? How did Jack…

  • Videodrome



    Film #9 of Spooky Season 2022

    “Death to the Videodrome. Long live the new flesh.”

    Videodrome is, perhaps, Cronenberg at his most self-aware, embracing his talents and utilizing his strengths to make one of his most intelligent, timeless features to date. By casual moviegoers, it seems to be a film more recognized for its body horror components, yet where it secretly thrives best is thematically – Videodrome is not only a study of the media’s fixation on violence, but simultaneously…

  • Don't Look Now

    Don't Look Now


    Film #8 of Spooky Season 2022

    More than anything, Nicolas Roeg's Don’t Look Now is a prime example of a utilization of horror to study a larger thematic topic. Right from the get-go, it homes in on the emotion of grief, from here looking at this feeling through a predominantly spooky, unnerving perspective, using this distinct genre as a means to present an examination of a larger, more broad concept. I think this, more than anything, permits for its overarching…

  • The Host

    The Host


    Film #7 of Spooky Season 2022

    Even one of Bong Joon-Ho’s overall weaker efforts still proves to be an engaging, thought-provoking feature that pushes the trademarks of its genre. Where with Memories of a Murder (2003) Joon-Ho puts his unique, intelligent spin on the tropes of the detective film, here, he does the same with the monster movie, redefining this arguably ancient type of feature and creating something entirely new altogether.

    It starts innocently, taking reasonable time to establish our…

  • Scanners



    Film #5 of Spooky Season 2022

    Where Cronenberg's The Dead Zone (1983) is a demonstration of how powerful a strong performance can be in the grand scheme of things, his earlier feature Scanners goes to showcase the exact opposite, revealing how a poor lead can practically tank your entire film. Even with some intriguing directing, nothing can truly save Scanners from the horrendous acting of the lead Stephen Lack, who does not even seem to be remotely trying here, instead…

  • Marcel the Shell with Shoes On

    Marcel the Shell with Shoes On


    More than anything, Marcel the Shell with Shoes On is a meditation on the concept of change, a consistently relevant topic that is perhaps more important to accept now than ever. After all, especially today, we live in a society that is constantly moving, with a blatant refusal to stop for anyone. Yet alas, in a sense, many of our primary conflicts simply spur from a saddening lack of willingness to accept change, creating stark differences that inevitably result in…

  • The Omen

    The Omen


    Film #4 of Spooky Season 2022

    Richard Donner’s The Omen exists in a subgenre of more existential horror, similarly to classics such as The Exorcist (1973) and Prince of Darkness (1987) nihilistically preying off religious beliefs and challenging the concepts of faith and God to terrorize the viewer. Granted, I’d imagine films such as these would be far more effective for Church-going individuals. I, for one, have never particularly been a person of faith, in my life attending a total…

  • The Dead Zone

    The Dead Zone


    Film #3 of Spooky Season 2022

    Abandoning the frequent, gory madness that has become a trademark of David Cronenberg and films, his 1983 feature The Dead Zone pursues a fascinating route, especially for a horror picture of the eighties. Where many horror movies of this time entirely dedicate themselves to their more unnatural components, pursuing their campiness to laughably extreme measures, The Dead Zone takes an intriguing, different approach, instead sidelining its supernatural elements to instead focus on something frequently…