Partisan (2015)
We almost see the harem fantasy in proper context. Almost.Continue Reading
We almost see the harem fantasy in proper context. Almost.Continue Reading
The employment of a narrative of diptychs, title cards, and the artistic decision to shoot in monocolor alone would have vaulted Sang-soo Hong’s ode to cinema halfway to realization without factoring in his recurrent and self-referential character stocks. Screenwriters and filmmakers. Such archetypes while not constants in his work stillContinue Reading
Two Girls One Cup was after all a Brazilian stunt if urban legend is anything to go by anymore. Not that I’ve tried, but apparently your gag reflex will instinctively kick in for the act to be attempted in full. So much for scat and skeet being just one vowelContinue Reading
Somewhere between the speed boats, standard-issue supercars, and deep cover meet-ups, Miami Vice demands an increasing threshold of incredulity. By no means is this a flaw except while on the one hand you have to contest with suspension of disbelief to a point, you also end up struggling to keepContinue Reading
I went into Vincenzo Natali’s sci-fi horror, sadly enough, with the hindsight of spoilers firmly imbedded into my disturbed awareness. Otherwise, how else would a pervert-cum-rubberneck get to feast his eyes on bestiality and incest without previous knowledge and a guarantee of the surprise element remaining intact? With so manyContinue Reading
“Credit the sixties for giving us the acid version of strip, jazz and now the Western,” I assume was the opening line of many an El Topo review had there been edgy online publications like Cinemaholism in 1970. Alas there wasn’t. And so it was now, in 2017, certainly overdueContinue Reading
For better or worse, cinema’s enfant terrible of yore and current hack artist Gaspar Noe is, to many, above any introduction except yours truly will dispense one anyway, so I promise to keep it short.Continue Reading
Often misunderstood, and romanticized for the wrong reasons—and such was the power of Mario Puzo’s Godfather screen adaptation—the mob genre is mistakenly celebrated at each cycle of reinvention. The Italian mafia in films has undergone a persistent makeover, resurrecting in newer, grimier skin each time around to the shortsighted delightContinue Reading
There is a moment in The Kill List so glaring and abrupt I paused unsure whether to allow myself to go along with the distraction or, altogether, question the director’s motives.Continue Reading