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  • The Matrix Revolutions

    The Matrix Revolutions

    ★★

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

    The first film introduced bullet time, had a whole lot of vague, symbolic but iconic stuff that brought it to near-mythical status, but it had a poorly-written plot and one of the most tacked-on romantic endings in an era full of them. The second one exploded the whole red pill-blue pill dichotomy in a nearly-incomprehensible statement about destiny and some badass cartoon physics, but it failed at the world-building it was trying to set-up and has about 45 minutes of…

  • Oxygen

    Oxygen

    ★★★½

    It is definitely possible to see past the massive plot holes of this film and just ride from one exhilarating, expansive twist to the next.

    But it also makes a lot of sense as a cosmic analogy for screaming at your computer, making this perhaps even more of an effective quarantine film than its 90-minutes-in-a-claustrophic-chamber already suggests.

    Interesting point though - there are a ton of sci-fi movies about diabolical AIs, but is this the first about how the very…

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  • Terrorizers

    Terrorizers

    ★★★★★

    The easy saw on this film is that it's about the unknowable, tenuous nature of reality (famously Frederic Jameson called it "THE postmodern film"), but the more interesting take is that it's about the inscrutability of motivations. Rather than sitting around in existential malaise, its characters act: compulsively, inexplicably, and in the end tragically.

    Certainly not the earliest link in the style that would come to be known as "hyperlink cinema", but feels like the godfather of so many 90s/early…

  • Blood Simple

    Blood Simple

    ★★★★★

    The entire back half of this film, when Abby and Ray are talking completely past each other, neither aware of what's really going on, is among the most exhilarating exchanges you'll see in any noir, neo- or otherwise.

    Ignore everyone who says this is The Coens "in chrysalis" or some bullshit, this is the Coens arriving fully formed. Some aspects - the sparseness of its settings, the chiaroscuro lighting, the limited but pointed black humour - never got better.