A wonderfully shot Ellison-esque sci-fi concept that’s held back only by Don’t Look Up levels of ambiguity. Then again, Bong Joon Ho has never really been subtile in any way about the political messaging on capitalism and aristocrats he carries across all his films. Bro thinks American people are dumb af too.
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The Wolverine 2013
Wolverine survives Nagasaki and the first thing to regenerate is his fucking sideburns— i’m not joking!
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Vampire Hunter D: Bloodlust 2000
I’ve been a fairly huge fan of the Vampire Hunter D universe since I was lucky enough to find and read Vol. 28: The Tiger in Winter, a short while after the pandemic had begun. In these past three years following my initial discovery I’ve acquired a number of other volumes, and consider myself a proud member and spokesperson of the long forgotten VHD fanbase.
Vampire Hunter D: Bloodlust, is a 2000s OVA that easily ranks among the best films in all…
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Sliver 1993
Aesthetically striking and conceptually intriguing, Sliver thrives when it leans into the techno-noir, analog giallo it was meant to be and falters when its desperate attempts to mimic Basic Instinct become all too obvious. The titular Sliver building is beautifully shot throughout, mesmerizing and menacing. At its heart lies Zeke’s shadowy mosaic of CRT screens, a trembling collage of distorted static, neon glimmers of sex, and fragmented images of bloodshed. Beneath this glossy mid-90s aesthetic and its sleek, tech-infused high-rise setting lies a slightly halfwitted attempt at a worthwhile movie; a dark exploration of control, intimacy, and the seductive power of watching.
“…the psychology of the lens.”Translated from by
