Like BARBARIAN, it’s disappointing how X uses elderly women’s bodies as a locus of horror especially when Natalie Erika James’ RELIC so effectively subverted this trope to much less popular acclaim.

An interactive romantic comedy with a frustrating lack of both comedy and interactivity. There simply aren’t enough choices: why does Cami (Laura Marano) have to end up with any of these irritatingly bland men; why can’t she end up with all of them; why couldn’t she make some friends who aren’t her sister; why couldn’t she have beaten up the kid who picked on her niece?

A film with incredible depth of detail. On the big screen for the 30th anniversary, I caught so many small background details in almost every frame that catch the eye but aren’t visually overwhelming and make the world feel lived in.

A formative action blockbuster for me that, for better or worse, formed the mould in my mind along with JURASSIC PARK and STARGATE for what blockbuster entertainment looks like.

Where I praised INDEPENDENCE DAY for its sincerity, RESURGENCE comes across as very cynical, relishing in the kind of self-conscious and self-aware quippily non-naturalistic dialogue of a lot of modern blockbusters.

In the depth of his drunken despair, Tank (Julian Mayfield) stands in front of a carnival mirror and gives a funhouse description of the Black revolution to some credulous rich white people.

PHANTASM resonates with a specific Lynchian frequency while also operating with a Buñuelian sense of dream (nightmare) logic. It almost seems to anticipate elements of Lynch’s DUNE, BLUE VELVET, and Twin Peaks and shares Lynch’s preoccupation with the weirdness of the American suburbs.

Look, I’m not a stickler about spoilers and often think hysteria about spoilers is ridiculous but I feel I would have gotten more out of this if Amazon Prime Video’s description wasn’t a concise summary of the last five minutes of the film.

Continuing a series of films about deeply frustrating German men. Leon (Thomas Schubert) is always watching people from a distance and talking to them through windows accentuating the gulf he perceives between himself and other people.

A relatively grounded—for Quentin Dupieux—meditation on ageing and rejuvenation via two interconnected stories. ‘Grounded’ here involves a time-defying tunnel in a basement and an electronic iPenis but still more verité than Dupieux’s RUBBER or DEERSKIN.