“I don’t like the idea of “understanding” a film. I don’t believe that rational understanding is an essential element in the reception of any work of art. Either a film has something to say to you or it hasn’t. If you are moved by it, you don’t need it explained to you. If not, no explanation can make you moved by it.”
― Federico Fellini
“Film lovers are sick people.”
― François Truffaut
Veronika Voss (Reiner Maria Fassbinder, 1983)
Smack-addled former Nazi starlet plays lovelorn journo like a violin as she slides into the abyss. Beautifully shot, doesn't end well.
The Wonder (Sebastián Lelio, 2022)
English nurse visits 19th century Irish backwater to investigate miracle girl who never eats. There are nuns, everyone is miserable, you'll love it.
Joaquim (Marcello Gomez, 2017)
17th century Portuguese colonialist soldier gets angry about treatment of indigenous Brazilians and fails to start a rebellion. Lots of panning for gold, not much storming the barricades.
Prince of Darkness (John Carpenter, 1987)
PhD students regret investigating a jar of green goo that happens to contain Satan. Atmospheric synths, effective chills, near-peak Carpenter. Alice Cooper kills someone with a bike frame.
All Quiet on the Western Front (Edward Berger, 2022)
A group of enthusiastic young German friends are systematically devoured by the machinery of war, while their officers eat steaks and make stupid decisions. Brilliantly controlled, unsentimental and damning.
The Northman (Robert Eggers, 2022)
Muscular revenge tale about a viking playing a (very) long game against the man who killed his dad. The battle scenes are crunchy. The ending is never in doubt. Gets weird, but never quite weird enough.
The Green Knight (David Lowery, 2021)
Based on a 14th century poem. A young knight is tricked into taking on a deadly quest. Wild English mysticism, picaresque adventures, a world where everything is a little off and old malice bubbles beneath the surface. Includes giants.
The Sweet Smell of Success (Alexander Mackendrick, 1957)
Lowlife PR shill tries to climb the ladder by doing dirty work for a monstrous and monstrously powerful gossip columnist in jazz-age New York. The performances are magnificent, the dialogue box-fresh and brutal. No-one gets out alive.
The Good Nurse (Tobias Lindholm, 2022)
True-life tale focused on the relationship between a struggling nurse and her serial killer colleague. Finely-drawn characters, but an extraordinarily high body count to drama ratio.
Don't Worry, Darling (Olivia Wilde, 2022)
A perfect housewife realizes she's been trapped by a patriarchal 50s cult. Gorgeous production design, lush cinematograpy, compelling acting. Promises much, then stumbles into the obvious.
High Life (Claire Denis, 2018)
A bunch of prisoners head on a mission to a black hole while being subject to sexual experimentation by a mad doctor and generally beating each other to death. In space, no-one can hear you laugh.
The Exorcist 3 (William Peter Blatty, 1990)
That naughty old devil at it again. This time it’s all sorts of ritualistic japery. Lacks the visceral punch of the first film, but sidesteps the dog-doo of the second. Some proper creepy moments. The snappy dialogue even has a few laughs.
As Above So Below (John Erick Dowdle, 2014)
Le Descent but more satanic and with Tomb Raider sprinkles. Idiots die in the Parisian catacombs while chasing the Philosopher’s MacGuffin. Goofy fun with just enough twist.
Host (Rob Savage, 2020)
Pandemic-era zoom-based horror. Bored teens take part in an ill-advised internet seance. Like the work call you wish you had… Less screen-sharing, more jump scares, more actual death.
The Conference (Patrick Eklund, 2023)
An office team-building trip at a countryside camp. The ultimate horror. But somehow it gets worse. A masked killer runs amok, and one by one the corporate liabilities are appended to the spreadsheet of death. Tightly edited and really quite a hoot.