Can’t help but notice this has a lot in common with KNIFEMAN, the retro-tokusatsu serial killer procedural I’m going to be editing next year, which just entered crowdfunding and which you should definitely support. YOU ARE NOT IMMUNE TO SELF PROMOTION. GIVE BRETT CORNWELL AND MP HAYES YOUR MONEY.
Anyways, good movie.
In late 2020, I had maybe the worst attack of impostor syndrome I’d ever experienced. It’s something most aspiring artists go through at some point - the feeling that you’ve only made it where you are through dumb luck, that you don’t stand a chance in an industry based on connections and nepotism and wealth, that you’re just not good enough to pull it off. It took weeks for my friends and family to pull me out of my depressive…
Proof that the line between standard noir fatalism and Final Destination is nowhere near as thin as people might expect.
I feel like you can probably tell something about a person from their favorite musical*, which is why I’m mildly concerned about the fact that this one is mine. Still a lightning-in-a-bottle work in nearly every respect, though - I’m always going to be hard in the bag for a horror musical that wants first and foremost to SCARE you, and while this isn’t alone in that regard, none of its competitors have anything nearly as powerful as Sondheim and…
It's frustrating to think that, years from now, people will probably be describing this movie to each other with the preface "it's like Lady Bird with America Ferrera". To be fair, though, there are a lot of similarities between this and Gerwig's film, but it'd be a mistake to think that this doesn't stand out on its own. Part of what makes this so special is how unabashedly political and intersectional it is - unlike other coming-of-age indies, it's willing…
