Dunkirk (2017)

One of the last 2017 Best Picture Nominees I’d seriously considered watching but (until now, of course) didn’t. I was a bit more on the fence because, while I can’t exactly discount the notion of war movies in general with a “Been there, done that” attitude that doesn’t smack of hypocrisy considering my feelings on […]

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Detroit (2017)

Kathryn Bigelow is a curious director. She’s responsible for what I consider the finest of vampire movies (Near Dark), a mostly-ridiculous but well-loved action movie (Point Break), a Best Picture (The Hurt Locker), and the cult classic sci-fi flick Strange Days. I’ve unintentionally, and unwittingly, sneaked into a pair of racially-charged movies. Not, mind you, in […]

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Daft Punk’s Electroma (2006)

I developed a pretty sincere affection for electronic music in high school and college, mostly centered around the Warp-school of electronic–“IDM”, as it’s often called, typically somewhat experimental and unusual. I could never quite get a handle on trance, house, and other dance-oriented forms of electronic: repetition was often intrinsic, and more insistent than it […]

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Death Note (2017)

I’ve always had a funny relationship with anime and manga. Early on, there was a suggestion that it was tripe, and it was early enough that I nodded and took it as true. Then, I picked up my first issue of Fangoria–#145. It had articles on the live adaptations of Fist of the North Star and Crying Freeman. […]

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Death Proof (2007)

My strange distaste for Quentin Tarantino is well-documented. It's strange, though, because there are not many of his films I actively dislike, and I tend to like him in interviews (and even in acting roles). Certainly his fans are often a big part of my distaste, many of them thinking entirely too much of the […]

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Das Boot (1981)

NOTE: This review refers to the 209 minute “Director’s Cut.” Das Boot has a peculiar release history, having a number of cuts not far from Blade Runner, but a much greater disparity in running time between any of them. Originally released theatrically at 150 minutes, later in two miniseries forms, one set of three 100 […]

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The Descent (2005)

I've seen Dog Soldiers and, oddly enough, Doomsday, but only just saw The Descent (wait, what's with all the D's, Neil?–and your upcoming one is a D too? Weird…). I shrugged it off originally (surrounded as it was by things like The Cave, plus the fact that it received wide release in American theatres as […]

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