Sleepless Night Slams You Against the Tarmac
If you’d like a compact pill of tension: Sleepless Night.
If you’d like a compact pill of tension: Sleepless Night.
A bitter ending is better than an endless bitterness.
Cataclysmically, unrelentingly action packed, like a room full of toddlers hopped up on PCP and strapped to power saws, told that only the last of them standing gets the graham cracker
Films about suicide should probably try harder to not make you want to kill yourself.
The Mule is a film about holding onto your shit, in every definition of the phrase.
Audiences are strange. You can chase them, and try to manipulate them. Sometimes that works and sometimes it don’t.
Come for the heroin. Stay for the, uh, the heroin? If you can find it? Maybe it’s inside a doll? Seems likely.
Where we’re going, we don’t need roads.
Mongrel monster movie White God (Fehér isten) wants to have it’s kibble and eat it too.
What you already know about Scientology, explained, by Alex Gibney and HBO.
Friday the 13th is as gelatinous as baby poop and marginally less endearing.
In the film ’71, as in reality, the intricacies of politics, the recognition of our neighbors’ equality in fear and fury — things such as these play soft second fiddle to keeping the blood flowing to our brains.
In which David Cronenberg’s Maps to the Stars and Sion Sono’s Why Don’t You Play in Hell? compete to see which can get cinema drunk on its own death faster.
I suppose you’d have to be crazy to like Catch-22, but then if you’re crazy, who cares what you think? I guess that’s the catch.