Micro-Reviews;
BONE TOMAHAWK:
interesting that this played more like an American Western rather than an Italian one, given the cannibal antagonists, but that dichotomy makes the film all the more unique among other throwbacks to those respective variants. creates a very interesting universe/myth while not over-explaining the background of the events witnessed by the viewer.
DEATHGASM:
charming and energetic with strongly realized characters and the deadpan brutality of early Peter Jackson, the genre of "Metal Horror Comedy" has found its primer.
GOODNIGHT MOMMY:
somewhere between an
Eyes Without a Face surgical nightmare and a Michael Haneke style examination of violent family dynamics.
HEADLESS:
grey market horror in its purest form. more than just a highlight reel of staged atrocity, the film becomes an unvarnished look into a mind warped by the abusive perversity of its surroundings, morphing into an inadvertent embodiment of the underground creative process.
KNOCK KNOCK:
playfully fetishistic re-imagining of
Death Games that threatens to become bogged down in ham, but remains a fun, kinky watch due in no small part to the leading ladies.
LOOK OF SILENCE:
companion piece to 2013's
Act of Killing counterpoints that film's meta-mondo format with a sobering perspective from a family victimized by the previous entry's casually extreme subjects.
THE NIGHTMARE:
immersive examination of sleep paralysis that operates on a level of terror that no
Nightmare on Elm Street film could ever hope to reach.
SAMURAI COP 2: DEADLY VENGEANCE:
assorted 80s D- Action tropes + Kayden Kross pulling a Laura/Maddy + Bai Ling being adorable + Tommy Wiseau Mega Acting + a loving tribute to cinematic titan Robert Z'Dar = cure for suicide.
