• Minority Report

    Minority Report


    it’s rare that a film of this sheer scope, this size alone, can function doubly as such a dense, multivalent text—both with reference to its not-so-subtle polemical bent and the unifying thread of faith+anti-determinism in its relationship to a hermeneutics of the image—as well as an incredibly moving & consistently thrilling viewing experience, but Minority Report pulls the act off in spades. typically wonderful work from Cruise & Kaminski as well, though practically no element here is lacking by any means. the knottiness at hand, both…

  • Persian Series #12

    Persian Series #12


    seeing such virtuosic control of color & velocity & the creation of dimension within the picture plane put a smile on my face after a rather shitty day. always nice to see something this dynamic & impressive from one of the masters.

  • Persian Series #11

    Persian Series #11


    something about Brakhage’s deployment of superimpositions in this & in the film prior strikes me as incongruous with his methodology as a whole, though the idea behind it certainly has merit...

  • Persian Series #10

    Persian Series #10


    watched a rather compromised copy of this, to be sure, but the description provided here sheds a curious light on the film in general. unexpectedly staccato for Stan, and i much prefer the subtractive elements over the solarization / additive work

  • Shanghai Express

    Shanghai Express


    we achieve clarification of the Express itself as an ever-liminal space through unending, highly specific sound-design and the loss of differentiation between cut and superimposition, and so something truly inexplicable is born. this is a film of seemingly so few stakes because everything simply glides on by, because everything is sidelined until it’s not—and it miraculously works as a result of that. (the only analogue i can think of) as with my recent discovery of De Seta’s filmmaking in the…

  • A Bay of Blood

    A Bay of Blood


    reazione a catena, like ripples in a pool

  • Isle of the Dead

    Isle of the Dead


    has the ineffable quality of suggesting great depth with even the most minor of gestures, and yet, so much of it entirely eludes me and is all the better for it.

  • Help! I'm Stuck! with Cole Escola

    Help! I'm Stuck! with Cole Escola



    just shy of an hour of what Escola does best: mixing intentionally broad if not overtly stupid comedy with decadent commitment and laser-focus specificity. hope to never see a recording of traditional stand-up ever again tbh—a very tired & visually boring medium! this, however, is neither of those things & Cole once again proves themselves to be foundational to the future of (good) comedy. the true crime bit is quite literally perfect.

  • I Walked with a Zombie

    I Walked with a Zombie


    holy cow !!

  • The Last House on the Left

    The Last House on the Left


    extremely not what i would’ve expected this to be ca. 6 years ago or so, but now makes sense having seen The Hills Have Eyes—which similarly eluded its own reputation upon actually seeing the thing. this embodies a strange, accidental form of ellipsis through which violence becomes suffused with irony-laden and yet sincere vengeance at once. it’s spirit is almost ambient, moving between discrete moments with total liquid disinterest, just an unending onslaught of vileness. 

    it’s curious seeing Craven’s work…

  • When a Stranger Calls Back

    When a Stranger Calls Back


    first half or so is pretty incredible; the (amazing) prologue alone had me spooked in a way VERY few films of this ilk are capable of, and the ensuing PTSD-informed dread is appropriately real and terrible and heartbreaking. when things become clearer & trauma finds its explicit origin, the film of course becomes less interesting tonally + thematically, but it’s still solid stuff all around. i like Carol Kane in this a lot!! Heather Langenkamp in Dream Warriors vibes, etc.

  • Corridor



    i’m always curious about what seeing films like this would be like in a “proper” setting, because i personally adore the way this looks as a VHSrip; while it does indeed reduce the quality of the light/darkness itself, its artefacting colors helps the piece be appreciated as an artifact itself. which is to say, some of the optical printing effects look even more unreal, even more inexplicable when rendered through this swamp of pixels and interlacing, and i love that!…