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Friday, May 3, 2024
New REVIEWS!
All That Money Can Buy (aka The Devil and Daniel Webster)(1941) Reclaiming of a Lost Expressionist Classic (Review)
Akira Kurosawa’s Dreams (1990) – A literal title for a one-of-a-kind film (Review)
Boy Kills World (2023) Skarsgård Kills Role (Review)
The Boss (1973) Misogynistic Mafia Movie (Review)
China O Brien I & II (1990) The Simple Pleasures of the Straight to Video Years(Review)
The End We Start From (2023) A Very British, Very Woman-Centred Apocalypse (Review)
Misunderstood (1966) Beautiful and genuine Italian Melodrama (Review)
Black Mask (1996) Hong Kong’s Answer to the 1990s Superhero Boom (Review)
Infested (2023) Shudder by Name, Shudder by Nature (Review)
The Cat and the Canary (1927) Hauntingly Expressionist Silent Classic Struggles without Words (Review)
Peter Five Eight (2024) An Attempt was Made by Spacey (Review)
The Bounty Hunter Trilogy (1969/72) Samurai Western Trilogy by way of James Bond? (Review)
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1
Daughters of the Dust (1991) recalls Tarkovsky, Resnais or any other sanctified European arthouse auteur you might care to name (Review)
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Daliland (2023) Shrugs at the eccentricity of artists without rolling its eyes (Review)
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Waxworks (1924): An Iconic Display of German Expressionism (Review)
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Onoda: 10,000 Nights in the Jungle (2021) (Cinema Review)
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Crimes and Misdemeanors (1989) Woody Allen’s narrative pleasures are worth the wait (Review)
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The House by the Cemetery (1981) The Odd Duck of the Gates of Hell Trilogy (Review)
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Hotel Salvation (2017) a respectful, tender exploration of old age and dying (Review)
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The Winslow Boy: remarkably empathetic and genuine (Review)
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Love Gets a Room (2021): A Holocaust Musical? (Review)
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Daughter (2022) Oppressive & Impressive Micro Budget Thriller which questions the family unit (Review)
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Blacula (1972) Dracula as the complete article of Black Horror (Review)
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