Nathaniel Thompson

Nathaniel Thompson

Owner of the site Mondo Digital, author, commentator, and movie junkie.

Favorite films

  • Deep Red
  • The Train
  • Daughters of Darkness
  • Rear Window

Recent activity

  • Spider-Man: No Way Home


  • The Last Duel


  • In the Heat of the Night


  • Mansion of the Doomed


Recent reviews

  • Encanto



    A couple of good Lin-Manuel Miranda songs, some fun sight gags, and a splashy color scheme compensate for the year's most incoherent script this side of Last Night in Soho. An emotionally abusive matriarch spends all of her time manipulating her whole family of sorcerers who go through a magic initiation ritual, except for poor Maribel who's deprived of having a special supernatural gift. Meanwhile all the Colombian villagers around them depend on that magic and bow down to the…

  • Shock



    Though it doesn't usually get cited as one of Mario Bava's top-tier classics, this has long been one of my favorites ever since getting my mitts on the Media VHS tape back in high school. Daria Nicolodi gives a performance for the ages as a remarried mom struggling with the fact that her precocious son might be possessed by her dead junkie ex, setting up a Henry James-style battle of supernatural wits that culminates in a truly harrowing third act.…

Popular reviews

  • The Lighthouse

    The Lighthouse


    For years people will be debating whether this is a horror film, a dark comedy New England period piece, a twisted Americanization of the Prometheus and Sisyphus myths, and/or a bitterly amusing portrait of male aggression and (terror of) intimacy. Any way you slice it, this is a visually intoxicating and brilliantly acted two hander from Willem Dafoe and Robert Pattinson that manages to surpass Robert Eggers' mostly excellent The Witch (or The VVitch if you wanna be all 7even about it) by sticking the landing all the way to the unforgettable final shot. Easily worth repeated viewings and one of the great macabre nautical nightmares.

  • Suspiria



    A raw, screaming art film with a capital A that I deeply enjoyed but would probably never outright recommend to anyone else. Those of us emotionally attached to the Dario Argento film of the same title will have the toughest hill to climb here as Luca Guadagnino doesn't even try to outdo it, veering instead into guilt-ridden, traumatized waters where the only way to survive is either mentally purge your sins or hope someone next to you gets destroyed instead.…