Though it’s classified as a comedy, Shiva Baby utilizes many of the stylistic trademarks found throughout the horror genre to merge painfully humorous discomfort with suffocatingly atmospheric terror.
1971 gave us bursts of magnificent cinematic iconoclasm that had no future — culturally or politically.
Violation utilizes extreme violence not to revel in a revenge fantasy but to deconstruct the genre’s militantly feminist appeal — “kill your rapist” — as a self-destructive endeavor offering no catharsis whatsoever.
Come True squanders all of its narrative potential in favor of an awkward and poorly developed romance and a “twist” ending even M. Night Shyamalan would scoff at.
Jumbo is one of the most magically affecting and visually enthralling romances I’ve seen in quite some time
“Everybody in this industry right now is looking for like, female beards to rescue them, but that’s not what we’re here for.”
I Blame Society may put off some enlightened neoliberals, but it is a fun little B-movie with killer insight and attitude to spare.
A B-movie inspired horror-comedy, Psycho Goreman is a delightfully schlocky homage to entry-level, kid-centric horror films but with the sort of grotesque violence one would expect from a more adult-oriented movie.
I Died a Million Times is an enjoyable and informative read for film noir aficionados and casual movie fans alike, offering a cogent analysis of ’50s gangster noir as a cinema of social commentary.
In its efforts to subvert well-known tropes, and reclaim the subgenre’s feminist cultural potency, Promising Young Woman undercuts its own transgressive potential by doing away with what makes rape-revenge films compelling.