Monthly Archives: October 2015

Concise Review: Night of the Living Dead (1968)

Night of the Living Dead is unquestionably a masterpiece of horror cinema because of its dizzying, surreal style and potent social commentary. However, on this viewing a new facet emerged that made my esteem for the picture grow to new … Continue reading

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Concise Review: A Girl Walks Home Alone At Night (2015)

A Girl Walks Home Alone at Night is the most audacious vampire film since Werner Herzog’s 1979 remake of Nosferatu. Its portrait of the fiendish creature is commendably minimalist. Sheila Vand, who plays the titular character, is merely dressed in … Continue reading

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Concise Review: Invasion of the Body Snatchers (1956)

Don Siegal’s Invasion of the Body Snatchers is impressive because of its potent bleakness, which slowly engulfs the film like a distant shadow that grows in size. The stark black and white look complements this all-encompassing feeling along with the … Continue reading

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Concise Review: Jackie Brown (1997)

Jackie Brown is Quentin Tarantino’s most underrated and unique film because his usual thematic fixations, motifs and techniques are fascinatingly repurposed. For example, his usual exploration of the self-constructed persona is used as a subtle change in attitude for the … Continue reading

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Concise Review: Natural Born Killers (1995)

Natural Born Killers is a brutal and uniquely potent film. Its exploration of the media perpetuating the two man killers is fascinating and gut-wrenching. Oliver Stone’s evokes this idea throughout the entire picture. He makes the film feel like a … Continue reading

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Second Viewing: Mad Max: Fury Road (2015)

As much as I admire Pauline Kael’s approach of only seeing a film once, insofar as it forces the reviewer to come to firm opinion and yields an exciting immediacy. There is something to be said for the second viewing … Continue reading

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Review: Macbeth (2015)

Cinema has been kind to The Scottish Play. Orson Welles’ 1948 iteration impressed with its potent expressionist imagery despite its meager budget and behind the scenes woes. The American literary critic Harold Bloom called Akira Kurosawa’s 1957 adaptation “the most … Continue reading

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