Showing posts with label Cemetery without Crosses. Show all posts
Showing posts with label Cemetery without Crosses. Show all posts

Saturday, September 26, 2015

Fool's Views (7/1 – 7/31)





Study, work, show, sleep. Study, work, show, sleep. Watch movie. Review it. Study harder. Sleep less.

That was July. Which is too bad, because I would have like to have given more virtual ink to three pretty great discoveries in the horror department which I had previously heard very little about (Honeymoon being the exception, having shown up on several best-of lists come the end of 2014). Long Pigs is one of the best faux horror docs I’ve seen, ranking just below Man Bites Dog, which with it shares more than a few similarities, while the terrific horror/comedy All About Evil I had only heard of as “that Peaches Christ movie,” even though the cult personality is only featured in a few scenes. Anyway, all three are well worth tracking down.

In the civilian department, if there’s a more mindfuckingly chilling ending to be found than that at the end of Denis Villeneuve’s Enemy, I’m all ears. Combining this with Prisoners, End of Watch, and last year’s should-have-been-nominated Nightcrawler, I’m finally convinced Jake Gyllenhaal is the real deal. Big thanks to John Pata for these recommendations, as well as for the completely underrated Disconnect. Check 'em out, sez I.

As always, feel free to leave your two cents worth – we’ll make sure you get some change back.

Enjoy!


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Tuesday, July 7, 2015

PIT STOP, STRAY CAT ROCK and CEMETERY WITHOUT CROSSES Blu-ray Reviews



If there’s one thing I recognize from exploring the horror genre over the past 15 years, subjecting myself to everything from the slickest Hollywood remake to the barest-of-bones backyard indie feature, it’s that my appreciation and/or tolerance for weird and wild cinema has deepened and grown. Where once poor dubbing, acting, or penniless production value would have instantly turned me off of a film, I now find myself able to gaze into the abyss for hours at a time; similarly, bizarre aesthetics and unconventional narratives are no longer received with frustration, but with the excitement of a new, fresh taste for my cinematic palate. Not to say I love everything I encounter, but these days, I’m far more likely to remember and appreciate that which is foreign to my sensibilities as opposed to any highly processed computer-generated, star-powered multiplex fare.