Review| The Grudge (2020)
After Nicolas Pesce’s moody arthouse debut in 2016 with The Eyes of My Mother and his follow-up, Piercing—an adaptation of Japanese author Ryû Murakami’s novel, another American adaptation of the 2002 Japanese horror film, Ju-On: The Grudge seemed like an…
My Top Ten 2019: Blake I. Collier
#10: Horror Noire: A History of Black Horror I read Robin Means Coleman’s history of African American representation in horror a few years ago so when I heard it was going to be made into a full-on documentary, I was…
Watchmen (2019): Full Series Review
During the first half of the series, it would not have been odd for a viewer to assume the crux of the series’ narrative would rely mostly on the characters of Sister Night, Looking Glass, and Laurie Blake as they…
Review| A Hidden Life
“…for the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden…
Watchmen (2019): Midpoint Review
“If no one remembers a misdeed or names it publicly, it remains invisible. To the observer, its victim is not a victim and its perpetrator is not a perpetrator; both are misperceived because the suffering of the one and the…
Review| The Lighthouse (2019)
For a while now I have been contemplating how filmmaking changed with the introduction of sound in film. The dawn of the “talkies” is an innovation that I am not at all sure we have fully come to terms with…
Review| Skin (2019)
What are the factors and events that must happen in order to shift a person away from a violent and dangerous system of thought? Most of the answers given to this question are understandably abstract, because no singular process of…
Review| Crawl (2019)
The horror genre, since its inception, has busied itself with social commentary from macro to micro. Standouts have been made across that spectrum. It is one of the many flexible components of genre-filmmaking: the ideas driving the films can be…