stand-out viewing for the mudlaw out show that was June.
(May)
VIDEOPHOBIA (2019, dir. Daisuke Miyazaki)
monochrome capture of non-consensual pornographic tech-core alienation.
EDGE OF SANITY (1989, dir. Gérard Kikoïne)
simian cocaine experimentation fuses recent and distant pasts into a netherverse of lurid malice.
APOCALYPTO (2006, dir. Mel Gibson)
really wish The Northman would've went for a vibe closer to this, but whatever.
LOVE AND HUMAN REMAINS (1993, dir. Denys Arcand)
more of a slightly-above-intriguing time capsule curio than a great piece of film making, but Mia Kirshner could star in a snuff film of puppies getting gassed with vaporized sulfuric acid and it would still send me swooning southbound.
INTRUDER (1989, dir. Scott Spiegel)
reaaaaaaally fucked up not calling this Grocer. shiiiit you even got the play-on-words with "Gross". still, total blast from Evil Dead personnel.
BASKET CASE 2 (1990, dir. Frank Henenlotter)
worth it alone for those Gabe Bartalos designs.
BASKET CASE 3 (1991, dir. Frank Henenlotter)
same as above. hoping that Bartalos has a MAD GOD in him.
GARBAGE (2018, dir. Q [no not that one])
lurking somewhere between New French Extremity and the more vicious entries in Sion Sono's filmography. explores similar subject matter as the aforementioned Videophobia, but shifts away from arthouse ennui in favor of berserker-mode ventilation.
TED K (2021, dir. Tony Stone)
the perfect antidote to the dominant paradigm of narrative "true crime" dramatizations. a lot less Too Catch a Killer and a lot more Cold Light of Day.
THE ISLANDS OF YANN GONZALEZ (2022, dir. Yann Gonzalez)
really can't wait to see what's next.
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