A great hang with the guys even while there’s manifold heartache everywhere you look. Really funny in a lived in, non-writerly way, and the banter in the middle section is so deliriously strong that I was in awe of a seemingly flubbed line like, “You like pizza on your ham?” because the gleeful, inside-out delivery feels true to a kind of good natured riffing. What Eephus gets so right, as the day wanes and the players get tired, is that…
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Ataraxia 2025
Love that along with the handspun gore, Meredith is always just as concerned with filling his pictures with the photography of overgrowth and rot, nature’s assault mingling with encroaching disease and grume-slicked aliens. This one’s got strains of NES/Sega/PS1 action/survival horror and a score that sounds a little like, oh I dunno, Sandwell District with the drums removed. (Film’s on YouTube.)
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The Beyond 1981
Fulci’s New Orleans, where stone walls and face flesh both disintegrate into mush with a touch. Barely makes sense minute to minute but it hardly matters when there’s so much genuine craft going on. It’s in the gore, of course, but major hosannas to Fulci’s long time editor, Vincenzo Tomassi, who, in tandem with Fulci’s restless camera, cuts the picture like a half-remembered and sweaty night terror. The prologue alone conveys more suspense, intrigue, and horror than legions of more…
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Faceless 1988
Clumsily but sort of brilliantly offers that the 80s, in all its extreme excess, was an attempt to distract from and numb people to the horrors of the 20th century and specifically the Holocaust, while simultaneously, in being made at the end of the decade, scolds the very same intemperances for creating the world’s newest monsters, those partial to the indulgences of endless nightlife, cocaine, and plastic surgery. A picture that hones in on the lurid monotony of a Robin…
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