From out of the past, where forgotten things belong
You keep coming back like a song.
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Smile 2 2024
Think about the tour.
Fuck the tour.
Kind of an abrupt way to start, but I cannot bury this lede. Cristóbal Tapia de Veer's score for the first film blew my hair back so hard that it still lingers as one of my couple favorite scores of this progressing decade, and dude was given license to go fully fucking buckwild here. Seems that was the order of the day in the production writ large, but whatever restraints were left on…
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I Am the Pretty Thing That Lives in the House 2016
From out of the past
Where forgotten things belong
You keep coming back
Like a songI remember hearing, or reading, several years ago an argument for the non-existence of ghosts. It went thus: for the many billions of human or humanlike lives which have ended up on this Earth, were even a fraction to have produced spiritual remnants, the surface of the planet, every square inch of the globe, would be swimming in such beings. Stacks of them on…
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She Dies Tomorrow 2020
Starts off really strong when it's just Amy going through the ennui, feeling very specifically-arranged. Lots of witnessing her quiet desperation to feel in touch with the physical world, but it also really struck me how much of her early-goings is about taking advantage of the ostensible advantage of owning property of being able to be as loud as you want. In the context it plays as almost an attempt to fake it 'til you make it, drag joy out…
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In the Earth 2021
Seemingly Wheatley's attempt to answer the question "Can I make a movie with a forest, a rock with a hole in it, and a vague concept of mysticism?" Shakes out as less than yes, but more than no. Ultimately almost none of this material sticks, the movie would be a straight upgrade with every moment of dialogue stricken (that movie would be insanely hard to market, but I expect Wheatley to know that's the goal here given Kill List), fully…
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The Final Destination 2009
The most violent episode of That's So Raven I've ever seen, certainly.
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Nathan for You: Finding Frances 2017
Does my voice sound familiar to you?
A raw weaponization of the fundamental unknowability of other people, paraded through actors, paid company, unfamiliar faces, untrustworthy recounts, ultimately back to who has always been the show’s central question mark. After all, how could they be understood when we so struggle to even approach understanding ourselves, our true motives, our true feelings, our true needs. If people are to us what we need them to be and what small glimpses we can…
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