Brian

19, lover of horror and melodrama, Fassbinder devotee, gay. I’ve never liked star ratings. Take mine loosely and generally.

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  • The Apple

    The Apple

    It was supposed to be 1984, but with music.
    —composer and co-writer Coby Recht

    So heinously awful it attains an almost sacred status. I laughed harder than I have in probably over a year. The tears were rolling down my cheeks.

  • Drive

    Drive

    ★★★★

    Nifty little thriller—modest goals and compelling execution. Gosling says that his character’s problem is that he’s seen too many movies, and while that’s clearly the case, it’s not an attitude the film ever really challenges, because Refn has also seen too many movies. Drive’s world is a wholly cinematic one, a smoothly glamorous construction into which reality never intrudes; even the violence is stylish. Contrary to the common assertion that this is gritty and grungy, it’s all seduction and surface—so basically superficial, at least emotionally, but so slickly executed that you don’t care. Very entertaining. And I appreciate the superb contribution to the ongoing Kenneth Anger jackets cause.

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  • Senso

    Senso

    ★★★★½

    or, What if the oppressor is hot?

    Thrilling early melodrama from Visconti. It’s essentially The Heiress expanded from intimate chamber play to grand historical canvas, and if it doesn’t quite attain the finely-tuned psychological and emotional cruelties of Wyler’s film, its deliriously aestheticized masochism and lush visual excess are more than sufficient consolation prizes. What a pleasure it can be to watch Visconti when he’s not abusing the zoom lens! Every frame is perfectly stacked and staged, bedecked in rich…

  • Being John Malkovich

    Being John Malkovich

    ★★★★½

    My dad loves this movie, so we rewatched it together for Father’s Day. It’s just as funny, and vaguely frightening and upsetting, as I recall it being the first time. Modern filmmaking would be more interesting if everybody were obligated to watch this.