Wednesday, July 1, 2020

We Are The Sprocket Holes vol. 390

stand-out viewing for the month of June (spent simmering to a boil in a cauldron of frustrated uncertainty about myself  and the world around me. weeeee)

(May)

THE BAR (2017, dir. Alex de la Inglesia)

hey look she's swimming in the Birds of Prey script. Inglesia brings the shit (pun un/intended) with his take on the locked-in-a-vacancy narrative.

THE BEAVER TRILOGY PART IV (2015, dir. Brad Besser)

a charming eye-opener about the tape trade artery traversing oddity from Trent Harris (Rubin and Ed).

BLOOD GAMES (1990, dir. Tanya Rosenberg)

inconspicuously situated between rape-revenge waves, Blood Games plays like the most hateful grindhouse offering you can imagine (Rape Squad, Fight For Your Life, etc.) wearing the toned up work-out body flesh of a boners 'n boobies late night cable timeslot warmer. none of that is an insult.
GUNS AKIMBO (2019, dir. Jason Lei Howden)

a way more violent, way less irritating Scott Pilgrim vs. the World that would feel at home alongside the Crank films and the woefully underappreciated Shoot 'Em Up. 

INHUMAN KISS (2019, dir. Sitisiri Mongkolsiri)

in a better, more just universe, this unendingly imaginative gem would be in the Netflix Top Ten and the insultingly execrable rich guy rape-fantasy wish fulfillment dook-grenade that was 365 Days would've been devoured by the tentacled viscera of an angry monster woman's floating head.

KILLING (2018, dir. Shinya Tsukamoto)

Tsukamoto artfully channels his obsession with the corruptive influence of archetypal masculine identity through the scowl-faced testosterone theater of the samurai film. 

PALE BLOOD (1990, dir. V.V. Dachin Hsu, Michael W. Leigton)

a surprisingly subversive entry into the pantheon of 80s-90s urban vampire tales. just try to get this out of your head afterward.

PATTY HEARST (1988, dir. Paul Schrader)

this might be the most horrifying film Schrader ever made. where as the nightmare imagery of Schrader's Cat People is rooted in suppressed carnal frenzy, the terror of Patty Hearst owes more to compartmentalizing stress related to avoiding violent retaliation. and the soundtrack? the noise scene fucking wishes. 

SPLIT SECOND (1992, Tony Maylam)

if you're sick to death of waiting for some cinemaniac to deliver the goods on a Judge Dredd film with Judge Death as the villain, then just give up the ghost and watch Split Second instead.

VHYES (2019, Jack Henry Robbins)

more like VHehs amiriteyouknowwhatimtalkingabout? some funny skits and dedication to the visual recreation, but it feels more than a few years too late jumping on the Everything is Terrible / Tim and Eric's Awesome Show. Great Job! post-ironic nightmare TV bandwagon, not to mention the already played out video store nostalgia that's been over-explored by any number of interchangeable "geek culture" commentators who confuse generalized sarcasm with biting wit. 


  

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