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Mo Sesay, Valentine Nonyela give beautiful performances capturing counter cultural moments at similar but at times different ends of a spectrum... the music scenes, the unrest and racial strife in the area, the murderer on the lose, queerness, colorism and Blackness within Britain...! Wow...so so good. Sophie Okonedo is beautiful here, and the work is flawless.

Jason Durr plays a ing gay punk boy, who is SOOO down for Caz, which feels sadly refreshing as I've seen so many films where it's a white man being pined over by a Black or brown man and treated horribly. Though, I can see it being a bit disted for some, to me the balance of the different plot elements and tones worked for me- and felt like a slice of life look at what life was like for some people- sometimes you DO just have these wild nights bing young and wild in the summertime. The sex scene between the two men was cute too, it felt so Gregg Araki 'Nowhere' I am near certain he's seen the film!

Working class, erotic thriller/shades of 70s leather giallo horror, Spike Lee’s Do The Right Thing and Summer of Sam as well as those Neo noir watergate era films like Klute, The Conversation (stumbling upon a crime by chance) and Blowout...Like wait a Black coming of age tale with queer people, complex themes of fascism in England, biracial, white and Black relationships…70s period piece, funky soundtracks…so much going on and it works. It also takes place in the late 70s so these parallels make so much sense!

'Young Soul Rebels' and 'My Beautiful Laundrette' are much more resonant to me than the glossy of many (though I have enjoyed many still) gay films -especially those who don’t even have a black or brown lead. Plus the whole punk element is very me. Kissing men in the streets in my torn leather 1970s real cow jacket, so punk so me! I don’t always need to see wealthy and lavish vacation homes and stuff to have a good time. These films hit different.

BITS:
-I love films with narration from a radio host!

-A trilogy of crime/coming of age dramas: 'Summer of Sam', 'My Beautiful Laundrette' and 'Young Soul Rebels'...all featuring a punk character I'm obsessed with! Where's that marathon?

-Haven’t seen 'Cruising' or 'Do The Right Thing' yet but it was clearly on the moodboard for Young Soul Rebels and methinks the latter was on the mind of Gregg Araki when he did Nowhere in 1997

-Swastika graffiti like in 'My Beautiful Laundrette'

-Weed smoking white mother lmfaao

-Hot shower scene!

-Car shop fight scene. Woah! Claustrophobic.

-Mo and Tracy having a fag off!!!

-I like that this film was a little sexually fluid, like our two leads used to kinda have something together- and though interracial pairings for gay boys are done to DEATH, especially for 1991- and a film addressing mixed race ID and things like that---it was handled quite well. FUCK...this film deserves more praise and the actors should've been huge huge fucking stars.

It's cool seeing Alain Delon and Maurice Ronet partner up after 'Purple Noon', more tanned hot summer nights and gorgeous clothes (that white bathing suit!) in beautiful locations.

Along with 'Purple Noon' I recall this film being reblogged about on Tumblr, and I watched the remake 'A Bigger Splash' by Guadagnino (it's curious Guadagnino made the characters older in that film). I was thinking about 'Mr. Ripley' while I watched this, so so after 'Purple Noon' and the spirit of direct and spiritual remakes.

I did check out the ENG version for a few scenes and Jane Birkin seemed much more lively in that language, whereas in the French version she's much more aloof and distant. LOVE that she had the famous Birkin basket, and I can see why she became so famous- she definitely had an It Factor. LOTS of then- popular Lolita imagery with her, lingering on her legs and her girlish nature, it's a bit of an eyeroll in 2025- but I think the film itself is quite voyeuristic so this could just be projection. Birkin reminded me of Maya Hawke, I could see Sofia Coppola shooting her like this in a contemporary film.

The film doesn't really pick up until the second half, which I watched a day later- and I couldn't help but (trashily) think they should've remade this plot on an arc of Melrose Place (my 2020 quarantine obsession).

The taboo-laden pseudo incestous cuckholdery at hand here works slightly, as it feels naughty- but I just didn't think the film was as strong as it's visuals and the background drama and lore going into the production of the film. Sadly. It has a pretty aesthetic and it's egotistic character plot feels narratively tepid though I like the choice of suggestion vs explicit revelation

BITS:
- Hot coffee, jam and toast breakfasts out by the pool.

-Maddly Bamy, I liked seeing her in the film- anytime a woman of color pops up in an older film i'm like "oh hey girl!"

-I loved Marianna (Romy Schneider)'s sparkly dress as well as the near translucent shirt on Maurice, that was sexy, and he has a nice voice too. They had intense chemistry!

-Spotted some Uncle Ben's rice.

-That really bad Ben Affleck erotic thriller 'Deep Water' had similar vibes to this somewhat, and also failed to be interesting.

-Bit of a reverse 'Teorema'

I found it curious that both Alain Delon and Maurice Ronet resemble Jude Law (I saw The Talented Mr. Ripley as a young child, and later in my teens, loved it!). Though I love Damon in the Ripley role, I almost wish they had cast someone who could more closely for Philippe. I'm a big fan of the motif of doubling or doppelgangers in films! Nonetheless I think it's interesting to compare and contrast the two, as in this version of the story I didn't see or pick up too too many homoerotic undertones- whereas that's a primary theme in the 90s adaptation (to a beautifully haunting and erotic degree)

I loved the scene of the port and signature scene, the way it was all analog and by hand, and the slow methodology of our lead emotionally disturbed protagonist. The coolness of his gaze but the heat of eroticism in his physicality, his lashes, the pierce of his eyes, he is a Homme Fatale. In ways I thought Tom felt asexual, but perhaps pansexual. Does it matter? The question is more interesting.

The scene of the Inspector sitting on the bed with Tom, who'd just awoken felt a LITTLE homoerotic, the tension of it all. I almost wished Tom got away with it. He's less tragic than the 90s version, where you REALLY want him to run away with his boyfriend and live off- but :/

Though it has some relaxed meandering aspects (far less than 'La Piscine...ugh!) I still found myself really enjoying the film overall! It's simple, slow, sexy, everyone is tanned, everything is sumptuous

The ending reveal was really fucked. MY GOSH... definitely an influence on 'The Comfort Of Strangers' which...wasn't good but Rupert Everett was gorgeous so it's worth that alone.

BITS:
-Janus Films!

-Really cool credits!

-Marie Laforêt is so reminiscent of Jodie Comer! I HATED when Phillipe threw her research papers away- that cruel little fuck. Great actor she is!

-mise en scene

-The white cane they take from the pedestrian was ugly. I enjoyed the boyish games, cute summer time foolery.

-The filming on the boat seemed so dangerous, oh my gosh

-Young Alain Delon definitely looks like late 2000s Zac Efron, I theorize he was on the moodboard for Lee Daniels' 'The Paperboy'

-Beautiful colors, coasts, dinners, costuming

-Freddy's corpse is so spooky.

-I love the woman who is investigating, and disguises herself as a nun

-Typewriters are so cool.

-Marge's striped bathing suit!

Arsinee Khanjian gives a restrained, languid performance with shadows of Isabella Rossellini that complement Elias Koteas' "Canadian Robert De Niro", an interesting bit I never noticed until I read reviews for 'Fallen'.
The film is immediately moody and atmospheric, laying down a beautiful foundation for it's brisk 1hr42 runtime- the world building is great, despite having limited locations and cast- the film itself feels very well colored, and it's rotating shift from one character to another does pay off in the end.

Gabrielle Rose is proper spooky, as is her partner Maury Chaykin- there's a simmering creep factor to the film and moments of genuine fright (like the peeping tom! wow...that got me!).

It has some beautiful parallels with Cronenberg's 'Crash', Hera in this is a film censor, the lead in 'Crash' is a film producer, but just the backdrop of these people working in the industry, and the approach to kinks and sexuality, ambiguity and gritty 90s Canadian noir locations and ambience. As a Canadian, I instantly recognize it as more resonant, and I wonder (and often have!) if Americans feel that way when they watch films; Canadian movies from this era have a distinct feel that feels so much like areas in my town.

though American Raoul Trujillo feels like one of those faces you'd see in an obscure Canadian tv show, things I perused as a child- here, he plays a leather pants clad homosexual. LOVE the pants, love the intensity of his gaze towards Elias, and the eventual aftermath of their seductive affair throughout the film. I liked the way the film hinted at Elias having affairs with his work clients and it's eventual finale reveal (which I feel could've been left ambiguous, but this is a signature Egoyan move, one featured in Chloe and Exotica) pay off. The film was cleverly written, brilliantly performed and feels oddly meaty for something with not a lot of dialogue.

BITS:
-Janus Films!

-Beautiful score work here!

-The rising homoeroticism was a welcomed surprise but given 'Chloe' and 'Exotica' I shouldn't have been that surprised. I like Elias Koteas doing this type of role, the kiss he shares with Spader in 'Crash' fed me!

-The scene of a graphic rape scene being censored by the board was so hard to listen to.

-This film starts off draped in shadows, you hear sexual moans, a woman is tossing and turning in bed, her husband is awake and leaves for work. It's strange, and I loved it. It's WEIRD, and sexy and actually thriller.

-Desolate suburban housing development, specifically the scene at sunset was so beautiful. Things really look like that in Ontario.

-Voyeurism, motel affairs, train exhibitionism, seduction, fires

-Would make a sick trilogy marathon with Lost Highway and Crash

-Mimi had some fab outfits! I want a piece of that chocolate cake!

-Don McKellar is such a freaky little guy in this film, had the film been 20 minutes longer I would've enjoyed more of him.

-Like with Exotica, I like the Queer shit going on, but could've appreciated a kiss on the lips. Nonetheless the eroticism was palpable and I like the relaxed sexual fluidity common in Egoyan films. I love him!

-I could see where people may mention David Lynch, Cronenberg- but if you watch more of his work, and it's certainly in community with those directors- he does have distinct style!

-Love the exploration of these characters. This film is just so interesting and rich to me. LOVED the bow and arrows as well! THIS is an Erotic Thriller ok! Babygirl...sit down!

-Eyes Wide Shut

Gregory Hoblit directs greatness in a pretty standard issue, but effective 'Primal Fear', but here... 'Fallen' feels like one of those rush jobs post- Seven to capitalize off the genre thriller boom- but to really middling results which feels especially heinous considering the level of talent they have at their disposal. Including a future 'The Sopranos' double casting.

Embeth Davidtz is a super interesting character, it's Miss Honey after all...and she's underutilized. We've seen a plethora of good cop Denzel films, but this one is such a dud- and it's so unfortunate. I was thinking about 'Angel Heart' and how a mix of detective, horror and noir are super rare- this is an example of an attempt that fails. Sad.

Denzel Washington and James Gandolfini also starred together in Crimson Tide. That's fun! Gandolfini, much like

Sutherland is not used to great effect here. I think Elias Koteas as a somewhat homoerotic villain REALLY wanting to possess Denzel was fun though, but I think the film should've had him as the primary physical antagonist, and didn't have to be overtly complicated.

Cress Williams is a glorified extra in the film, I wish he too has given more.

'The Devil's Advocate' is much better. Sigh...so much potential. This could've been Denzel's 'Cure' or 'The Wailing'!

"Chasing the shadow of one who's not there."

I watched this soon after viewing 'Naked Acts' and the zeitgeist is doing it's thing- both films about actresses, even the Charlotte boyfriend of the week in the 'Sex and the City' episode I watched. Cool.

I love the cel animation!

My girl was down bad, and chasing after a man, which felt a bit weak for a narrative but I thought she herself was more interesting, and I wish she was given more to do. Though the nature and idea of her life being framed by memory and cinema itself blurring for her and the documentary crew was innovative and beautiful.

Shares some conversation with 'Everything Everywhere All At Once' with it's meta aspects regarding Michael Yeoh's film lore and career, or to that end I guess 'Irma Vep' with Maggie Cheung.

I like the score! The parts that were almost Witch house were really nice.

LOVED the fight sequences!

The internal shame of aging as an actress...that was so sad!

Eiko Shimao was so cunty! Love her.

The last of the Douglas Sirk noir collection entries, and my favorite. I mean? Hello... Nuns? A gothic atmosphere, and almost chamber piece execution? A big storm? Shadows? Honestly shares some DNA with the Coastal Thrillers collection on Criterion as well.

In fact, there was a thunder storm earlier in the day prior to watching!

Claudette Colbert (who I recognize from Cleopatra, though I've yet to see that film! I'm just that fucking learned!) is supreme, as the our lead and generous nun, Ann Blyth plays a proper cold, and scene stealing Valerie Carns, feared by the others staying under the watch of the nuns' Convent during a deadly storm. She's referred to as a "Murderess" and I love it!

The film is well set up with it's small Norfolk and convent location, the gothic imagery of the black cloaked nuns and it's dark subject matter- given Sirk's previous films I have seen this one genuinely handled darkness, light and morals in a balanced manner.

"DIKE" oh.

Gizzards in soup? Ew!

You can definitely tell it's based on a play, and that's to it's credit. It's beautifully shot, moody and really quite stirring.

I wonder if this film inspired Hitchcock's ending for 'Vertigo'.

The gaslighting abusive Doctor husband? So spooky.

Connie Gilchrist as Sister Josephine, who has a habit of keeping and finding uses for newspapers- that paid off in the script, and it's a good story element. I really liked her!

All in all an effective melodramatic noir.

Douglas Sirk Noir No.2

It begins with Hollywood BLVD, a woman shifting her hair from brunette to blonde...the promise! Sadly, the film feels incredibly moralistic in a way that reads safe- and isn't a hard hitting noir I was desiring, instead resolving into something that feels cheesily sentimental; I kept wanting the lead to 'Leave her to Heaven' the little brother of Wilde.

Patricia Knight is good here- she feels like she *was* a bad, dangerous femme at one point...it's a shame she didn't make much more pictures after this! I felt she looked a lot like Diane Lane! They could've remade this during the 90s erotic thriller boom, to a much better result.

I recognize Cornel Wilde from 'Leave her To Heaven' (interesting considering my desire for Knight's character). He was so cute! RIP to both Knight and Wilde! It's crazy I was reading he was told his skin was "too yellow for color pictures"....that intra-white racism is just so fickle and odd. Ew! People are crazed.

The styling and hair on Knight was just gorgeous. As were the palm trees in Black and White (love you if you get the reference)

I think it's a mistake to start off a film so intriguingly, and then turn into something flowery and soft. Even the end locations at the oil refinery could've made for some really visually interesting noir actions...but it is far too late in the film for that to really take off.

The scene where Harry is told off was good! The gas station scene was tense as well! Them planning a getaway was as well- like the film had all the elements, but it isn't completely package in a way that is best. I'm seeing this with 'Lured' as well, Sirk's limitations.

The film had some really obvious fake tears that distracted me.

The foreshadow and plot relevance with Knight's hair- not wholly unrelated but not completely Hitchcockian- maybe it would've been hammier if she dyed it back to brunette and killed everyone and ran off- but I would've defended her!

It's unfortunate, Helen Deutsch rewrote the script giving the terrible ending. Sirk initially wanted the film to end in a shoot out? As per the original screenplay? Fuck. That would've been much better. Nothing about this film is like... shocking at all lol. Waste of an evocative title.

Shirtless Wilde! Hot.

The oil refinery neighbor woman is quite fun!

(Lured was better!)

"Beauty that only death can enhance."

Decided to deep dive into the Criterion Douglas Sirk collection. This film is the first project I've seen of Lucille Ball, and she is SO fun in this, with her winking at the audience humor and personality it didn't feel too dated in that regard. However, other aspects of the film are incredibly period- very hammy in ways that distracted from some really interesting mood and set ups from the first acts.

The foggy, cobblestone streets and snappy dialog made for a fun watch. As always, I also loved the shots of the street lamps in this environment!

I felt like the repeated instances of referring to women as "girls" was another period details, I just felt was repeated to death.

Boris Karloff is proper spooky as Charles van Druten, that sequence was a stand out. I could've even seen a film based solely on that premise- of a disturbed former fashion designer. I thought the dress he had Sandra wear was gorgeous. Where's the noir fashion film from the 40s? I must look for that.

Knife fight scene outside of the phone booth! Cool!

Line about "skills at making love" oooh ooh 1940s.

Definitely some homoerotic vibes with the Cat and Mouse conversation between the villain and the Inspector...but also between the male lead, and his (the villain) live- in business partner.

Sad this movie didn't do well!

"You're dirty. You're beautiful."

This has long been on my list, I likely first heard of this through tumblr back in the dark ages. I loved it. It's beautiful, gritty (unexpectedly, as I knew very little about this film, besides the Daniel Day-Lewis neck lick scene, which I thought was the ending!), tender and sweet, but in a way that feels natural and real as it juxtaposes a coming of age queer romance with a very real and almost jarring violent and serious narrative revolving the dreams and aspirations of immigrants, the way racism impacted Pakistanis in England and references to Thatcher era politics (which I don't know too too much about.) It doesn't feel dated at all, but remains a gorgeous time capsule.

I've seen bits of gay cinema or entire stories where a minority man and a racist white man fall in love, often with much mistreatment from the white man- this didn't really do that. I think Johnny being a far right punk is crazy, but the writing here and subtly was well approached. The film's POV being the fly-on-the-wall every day life of these Pakistani people vs the white man's POV was really appreciated. The central conflict is mostly sins of the past, and not their queerness at all, which is not even mentioned or really discussed. It just is. In that way, when Johnny takes Omar into the shadows to embrace and kiss it feels cute and adorable, like things I've experienced myself. There's a playfulness between the two, and you believe that they were mates at school in the past- and now they've reconnected.

Gordon Warnecke is ADORABLE here, almost reminds me of James Duval's goofy boyishness in his Gregg Araki trilogy. I found myself drawn to these stories of minority groups in cities against a political background- It's resonant but also really timely. I want to watch more films like this, I find it enriching.

Though the film has brutal moments, I was so scared it was going to end tragically. The reprieve of the ending is gorgeous. I really didn't want a 'Summer of 85' ENDING. Like we've been traumatized enough, I still cried but it's different. I see myself in this story, but I was mostly touched by the intimacy and quiet naturalism of the subjects depicted- versus being emotionally rocked from witnessing something really tragic and projecting your own failed relationships in the process.

I love that Johnny wouldn't leave Omar. I love that very much. Like...I think I had a reaction, because it's a craving I have- this working class scrappy tale- two young men finding their way, etc etc. I'm like wait bitch me too I want this!

Soap Bits:

-Frears directed 'Dangerous Liaisons' as well! Oh la la. The range!

-Tania was a baddie for sure, but like...that's your COUSIN...I did learn (with a quick google) that cousin marriages is normal in Pakistan and is a cultural thing, so in my western view i'm like "ew incest." But- there's likely a nuance here I'm missing. Rita Wolf was great- she played a good secondary character!

-Rachel (Shirley Anne Field) looks like Anne Archer! Great work in this film!

-The boy in the laundrette was the boy who is murdered in 'The Lair of the White Worm' omg...the way I have a visual actor's index in my brain. I'm so powerful. (Chris Pitt)

-The Caribbean tenant calling the Pakistani man an Uncle Tom was hilarious, the script is funny as fuck at times. It deserved it's nomination at the Academy Awards.

-I had so much anxiety during the sex scene. It really is a subversion, because the film deals with tragedy but the film is about moving forward and healing-to me. Reconciliation. That's beautiful. It's not about the taboo of homosexuality. The champagne kiss?? No words...that was so hot.

-More coming of age tales for people in their 20s please!

-Makes for a gorgeous and tender mini duology with 'A Beautiful Thing' from 1996

Sheryl Lee is truly the unsung Best Actress nominee that never was. It's a shame that 30 years ago...in an era FULL of Lolita imagery and eroticism, a story of an abused teenage girl and her eventual brutal murder, after experiencing a harrowing last 7 days wasn't given the attention nor acclaim it deserved. Sheryl is so committed here, funny, tragic, juvenile, scary. It's truly one of the best performances I've seen put to film.

Everybody wanted something from Laura. The film is completely devasting, and by the end- that bit of angelic reprieve feels so warranted. I understand in 1992- that this film is VERY dark, much more so than the television series- but it's in-line with Lynch's previous films! I just wish people had recognized this AT the time...how great this film is.

I really appreciate the Deer Meadows sequence, it shows that "we aren't in Kansas" anymore, and this is the inverse of Twin Peaks- metaphorically a transition to how dark and explicit this film will be for fans of the series. This is my second watch, initially I watched this in my teen years and I was so completely shocked by what I saw.

Aspects of the film feel very television- and obviously they were beholden to certain canon from the tv show- so parts of the ending felt a bit hokey...but the ending is just fantastic.

This film captures something about abuse I think audiences and critics didn't want to acknowledge and it's why the film stands up today, and is retrospectively seen as a classic.

BITS:
The shot of Lil's red shoes is SO 'Wizard of Oz'

The autopsy of Teresa Banks is so incredibly unnerving. Poor Teresa. RIP Pamela Gidley!

Agent Sam Stanley and Chet Desmond definitively had some gay vibes.

Moira Kelly was a fantastic young Donna! I REALLY wish she was back for the 3 season. Oh well!

RIP Harry Dean Stanton! His character definitely knew about Lodges and such, I think!

Julee Cruise. RIP. The scene of Laura walking into the bar, after being approached by the Log Lady is so heartbreaking. Wow.

Watched this on 4/20 and there's a quote about "4:20". Zeitgeist!

I like that this version of Donna is gay for Laura!

Lenny Von Dohlen is great as Harold. Great work from him.

Beautiful musical work by Angelo Badalamenti! Horns! RIP.

So happy I have this on Blu-Ray!

I find it gratifying to go into the older canon and educate myself on the classic eras of film. I recognize Sterling Hayden from 'The Killing' ...(WAIT THAT WAS HIM IN 'The Long Goodbye' woah...)! and Barbara Stanwyck from 'Double Indemnity' ...wait and Raymond Burr, who is really hot in this (TIL he was gay or possibly bisexual? and was the suspected killer character in 'Rear Window' wow!).

Interesting 1950s era feminist themes here. I think Barbara really is a captivating actress, and though the film doesn't fully shoot on all cylinders it was still fun to see her here! I haven't seen a character like this during this era- though it's wild she left her job and life behind for a man. A better narrative would've been a dark, broiling suburban noir...I liked the shadowy neighborhood shots and the ways the film explored the boredom of suburbia...but it felt too beholden to cliche instead of going there.

Watching this (Free on TUBI btw!) had me thinking of something: "Implication is the impetus of creativity"...I like the implied nature of older films, it keeps you thinking, now- in an era of CGI penises and shock value, a lot has been lost, the shadow, the hint, the anticip

ATION!

The film is well made but unfocused, and a bit of a bore at times. I wish she was rotten, and killed everyone and escaped to a different city! Barbara was acting her ass off regardless!

Criminal Bits:
- Venetian blinds, some truly snappy line delivery from Stanwyck

-Sterling Hayden was 6'5...damn

-"forget the man, run away with his wife."

-I like the San Francisco setting, any location with many houses on hills and shots of the street, it speaks to me!

-Brief rape case mention

-Well directed scene of the delivery man ing out lunch orders. Another is when people are reading her paper aloud. Good stuff!

- "I'm not thinking of the neighborhood"...oh she wanted that DICK. Queen!

-Hinted at post-wedding sex! Fun!

-Suburbia is a cage

-The tracking shot of Stanwyck going to her car was fantastic!

-I really loved the rear projection and shot of her shadowed features driving through the tunnel after the crime!

I love that so much of this film takes place either on the set of a film being produced or a video store (Boyz n the Hood, Jagged Edge, Home Alone 2 spotted in the shelves!) 

Along with other 1996 Black woman lead gems like the watermelon woman, girl 6 … Naked Acts feels like a self-love letter to a troubled character. Jake-Ann Jones shows promise especially towards the last few minutes of the picture, demonstrating some keen dynamic range regarding emotions and sporting such cute looks I seriously want all of them on my mood board! 

Patricia D’arcy is fantastic here as is a young, hunky Ron Cephas Joel (This is Us, Luke Cage) it is a shame he is no longer with us! 

I was thinking about the Josephine Baker Polaroid that is featured in the beginning of the film during a flashback, as well as the general show business aspirations for the characters. The film is very relatable as somebody who had a very similar experience as a character, and runs around the city in a leather coat! Ha! It’s an easy watch, an intimate one with some beautiful chill music, some super nostalgic 90s style and equipment/scenery and a few great sex scenes! 

So many beautiful parallels with The Watemelon Woman and Girl 6!  Something was in the Zeitgeist during the 1996 film year, but it saddens me that this film is so under, and it hadn’t heard of it until recently. It has an independent edge that reminds me of The Incredibly True Adventures of Two Girls in Love! 

Cicely’s Bantu knots at home, she is ME! 

I need Bridgett M. Davis to receive her flowers and I’m so happy that criterion remastered this film and it’s streaming I’m thankful to anyone who had a part in that. Because this phone feels so important and so Ernest and I really really liked watching it. 

There’s something so beautiful about these narratives of these black women be directors or actors who see themselves in a particular way, and are doing a lot of self discovery and striving to see success in themselves in the world around them!

Not particularly visually interesting, with a story that falls flat but I think it’s influences (O Brother Where Are Thou, From Dust till Dawn) are noted by Coogler, and I like that, but I’ve seen this film done better before and was not impressed. 

Wunmi Mosaku Is such a star, she’s the best part of the film. I wish we had more of her POV as a spiritualist and religious practitioner. I am clued into haints, mojo bags and things like that. It is nice to see onscreen. 

Miles! What a newcomer! 

Michael B Jordan is hot and efficient, when he goes full 80s action hero (which I understand can be powerful because he’s a Black man!) it loses me! I liked the twin aspect and seeing him show some range! 

Hailee is fun, she doesn’t fully sell it but it’s a camp quality that makes her electric on screen. I liked seeing her with a Black cast. 

Delroy is fantastic! Jayme Lawson you sing and dance girl!??! Bella Real from The Batman! Wow!

Omar Miller. Nice to see him, a familiar face from the 2000s! Ol’’cornbread! 

The Tommy Johnson/Robert Johnson mythos of selling his soul to the devil in exchange for musical skills is interesting. I thought tht myth would play more into Sammie in #Sinners but the more inspired and unique decision not to, I appreciate! 

I liked the Chinese Southern characters, wish we saw more Indigenous Choctaw people though. 

The film wasn’t really what I wanted, which was a more serious, grounded and severe look at folklore and mythology…though I like the old Sammie at the end. Wish it was more folklore felt very popcorn American blockbuster. Very post Jordan Peele, in ways NOPE and US are fully invested in being mythological…this films decision not to, negatively affects it. I wish it was more of a serious, darker southern gothic film. 

Li Jun Li my girl! 

Between a slasher, and an 80s action hero fantasy with heavy 70s blaxploitation/exploitation elements 

Bo was hot!! 

Hedonistic dance scenes reminded me of Babylon kinda! 

I appreciate what the film did, and its love letter to the culture and blues music! That’s important bumping my rating to 3, from 2.5. 

I will say that the scene in which the juke t is inhabited by people from the past and future was really interesting. I think this film had some interesting bones, but the fat was very popcorn blockbuster when it could’ve been so much more. But I think this really is an important representation for people and I respect that so so much, and as somebody with mixed ancestry, this does feel like a moment to really reflect on so much of our history.

Thoughtful, especially the Women’s section, inspiring and saddening the way these women I’ve looked up to all my life have been treated and continue to be treated. Seeing Whoopi Goldberg called ugly brought me to tears- as a lover of acting and cinema it is not an easy ion or job, but can be so rewarding. You keep fucking pushing. 

Beautiful.

“You wanna live bigger but there’s nothing you’d kill for.” 

Was thinking of Out of the Past when revisiting for a third time! 
Ugh I just love how I feel watching this. She’s so bad! 
The homoerotic elements between Clay and Harlan, with the former routinely making a play for him… that combined with the masculine direction of Fiorentino always feels queer in the sense of her powerful position within the office, her dominance in the bar and in sex and the way men flock to her and fall for her schemes, her voice and penchant for leaning over counters, in fridges, edges of beds…crawling she has amazing physicality in the role that makes her seem much larger than her 5’7 build. 

I like the scar on the right side of Peter Berg’a lower face. 

Feels a bit tv at times but I find that charming, love the whimsical jazz score and the small town atmosphere. Some third act exposition was not needed and isn’t as fresh on a rewatch. 

Love the kiss of death for the husband! Fuck him. And fuck Mike! 

Fiorentino is superb. You are loved!

Justice for Trish!

"Kiss me and I'll tell."

Shot in 1992 apparently, but released in 1994? The film has a VERY late 80s visual and sartorial look. Performances from James Spader and Madchen Amick range from appropriately steamy, to unhinged and maniacal or conniving- each seemingly having a good time in a pretty standard issue Afternoon Noir film released in the height of the erotic thriller boom. Spader had clout as a young actor by this point, and Madchen was fresh off Twin Peaks hype- it's odd the film went so under the radar.

Bess Armstrong (Angela Chase 'My So-Called Life' Mama!) plays a ing role, and it's nice to see her, I was happy she came back at the end! Larry Miller plays the typical early 90s (think Oliver Platt in 'Indecent Proposal') comedic relief less-attractive-than-the-leading-male best friend and I HATE every ounce of screentime he consumes.

I think the film is at odds with it's best aspects, it should've been a dreamy, psychological sex thriller detailing jealousy, obsession and ambition but instead feels rushed, hokey and almost tv-made which is a real shame! Despite all of this it's still pretty fun and watchable. I mean, art galleries and grocery store meet cutes- I'm here for it all!

BITS:
The opening song is Exorcist-y

Art gallery location, VERY 9 1/2 Weeks. I guess it's an easy way to show these characters are monied and bougie.

Madchen should've been a bigger star. She's competent here, with the material and smouldering, aloof and at times sweet. It is good work!

Love the loft house!

Spader was working OUT. Physique! I mean, they show some of his pussy bone, but no rear shots- meanwhile, Madchen is completely nude or topless many a times- including frontal.

The decision to advance multiple years throughout the first two acts wasn't a very good one especially since they continue to dress like it's 1989.

Are the kids hers? His? That was one of the spookier elements, and it's not really mentioned again...I like the hint and implications. I was rooting for her to win!

Spader's wife in this divorces him after he assaulted her. He is introduced as a woman beater- I never felt an ounce of sympathy for this fuck.

Not the 5150 plot... I learned what that was from my years stanning Lindsay Lohan.

Erick Avari showed up...I said "daddy!"

the random homoerotic scene of Spader spitting a pill into another patient's mouth????? Like why??? I mean thank you but WHY??

The birthday cake looked so fucking good!

Rushed, unresolved ending, with little character work or payoff. Effectively cheapening what little intrigue the film had by it's ending. Sad!

Realizing I watched this prior to 'Masquerade' and unintentionally had a Rob Lowe Erotic Thriller duology.

This film is directed by Curtis Hanson of 'L.A Confidential'. The design of the apartment, and office setting are welcomed in that way that 1990 still felt like the 80s; they even make an espresso machine seem novel. I LOVE that. The shots of shadowed venetian blinds, or perfume on a vanity counter....it's a very pretty film.

Some 'Strangers on a Train' (like 'Masquerade') influence here, I am growing particularly fond of the 80s Hitchcockian pastiche! Both films have that homoerotic tensions which originates from SOAT- In ways, I wish modern films like 'Challengers' actually went for a crime thriller element because it's like an erotic thriller without the bite, I refuse to call that film an erotic thriller! There was something in the late 80s early 90s zeitgeist regarding homosexuality and crime- perhaps it was the AIDS crisis. I wonder

BITS:
Oh hey Marcia Cross. Like in 'Masquerade', he stars in this with a 'Desperate Housewives' actress.

I definitely fit in at this leather bar

James Spader was cute!

Like with 'Masquerade' there are some homoerotic overtones within the film- that as always, I will appreciate.

Black men seem to only have service positions in this film

VHS sex tapes!! 'Body of Evidence' 'Jade' have these as well. I mean- it's interesting considering the scandal with Rob Lowe around this time. Yikes.

Almost an art deco aesthetic in the film. I also appreciate the hair and costumes which have a very gray,white and black aesthetic. Bring back cubed glass!

Wealthy yuppie robbing POC... oh

this is like 9 1/2 weeks for repressed gay boys

tense club scene

"An heiress. A hustler. A setup. A murder. Masquerade. It's not a game anymore."

Initially began to watch this in December 2023. It taking me a YEAR to finish this is so funny. I think I was turned off by the N-word usage. The film is well shot and the cast pretty, there's a LOT to salvage here but director Bob Swaim seems to be working with a really choppy script. Dick Wolf, I'm going to put the blame on- because much of the aspects I enjoy seem to come from Swaim (no word on his sexuality, but given the random and welcomed homoerotic charge the film takes in the third act, and it's instances of male nudity from Lowe- I think Swaim was comfortable with homosexuality, for something in the late 80s I appreciate that. I wish it was fleshed out a bit more.

I feel like this is proto-Wild Things in ways that would've TORE had the Dick Wolf script been focused more on it's legitimately steamy, Hamptons sexy aspect and less on it's haphazard thriller elements or crass dialogue (the repeated instances of John Glover using the n-word against ???? Rob Lowe...I don't know if this is 80s old school white person jargon for something before my time but "Boat Nigger" is such a random term--it's another moment that often can alienate a viewer when you know this script was not intended for you to consume. Hmm).

I LOVE 'The Big Chill' (it all comes back to TBC) alum Meg Tilly, who I recently enjoyed in 'Valmont' it's a shame I'm only seeing her in mediocre pictures because her talent is anything but. She's so sweet looking and immediately you root for her to be safe.

Despite it's flaws I had a lot of fun with this one! Perhaps this is another entry into 'Afternoon Noir', easy to watch viewing canon.

BITS:
-Lowe is shot here like the 80s heartthrob he was. You don't really have that model anymore and I wish we did. Much like Kim Cattrall painted as a sex symbol of the era- this film sought to capitalize on both. The film is actually hot, which considering the erotic thrillers I've seen ?? kudos! He looks like Ian Somerhalder. That concludes my thoughts on Rob Lowe.

-I recently read a review saying "bad" movies from the past aren't bad movies of today. This film is beautifully composed visually, and you feel that Old Money Aesthetic the pinterest and tiktok 21 year olds obsess over- they need to dig into the archive and get into this films!

-Interesting to see Dana Delaney here- who almost played Carrie Bradshaw, with SATC star Kim Cattrall!

-I was never a Tom Scavo truther like many online 'Desperate Housewives' fans but he was SO cute in this! He was gayer HERE than he was allowed to be on 'Melrose Place'! That's crazy. Also- DH also starred Dana Delaney! I could see elements of 'Rope' and 'Strangers on a Train' with the wealthy class aspects- I wish they had driven more of that dynamic home because the material writes itself. Had this been 1998 they would've! You go into the film thinking he has a crush on Meg Tilly- then they are like...actually the small town boy scout cop might be a little gay. I LOVE when films surprise me with a little homoeroticism.

-Diners!

-Lowe's character is nasty. Sleeping with Kimmy Cat after smashing Meg Tilly....JAIL! When he does so he creates an alibi by rewinding the clock so that he was seemingly with Kimmy rather than murdering somebody. That was some Hitchcockian shit!

-THANK GOODNESS this film has a bad bitch-off with Cattrall and Tilly in a washroom. VERY 'Body of Evidence'.

-I understand it's a downer ending, but I didn't need Lowe to be redeemed after death- they should've left Tilly pregnant, triumphant after defending herself from Doug- and the sole heir to the fortune. CUNT-Y. Ugh!

(Director's Cut via @/rarefilmm, thank you! )
It's a 2/5 film with a 4/5 performance from Linda Fiorentino who fires on all cylinders despite a lackluster (and crass!) script and a direction style reminiscent of the most basic, generic tv thriller that by 1995 seemed about as intriguing as a visit to the dentist. Yet- the shire awe Linda evokes in me is a spellbind in and of itself- she's like a rare gem, and I am so in love with her work (I will rewatch 'The Last Seduction' a third time soon enough!). You are loved Linda! I miss you. Her physicality in the role! The way she tilts her head, or enunciates!

I learned Julia Roberts and Sharon Stone were considered to play (and rejected?) the female lead in Friedkin's Jade (1995)- though they both were incredible in their 90s thrillers, respectively- Linda Fiorentino is in a different league; reminds me of that tough persona early career Angelina Jolie had- it's a quality rare in female leads even now. Michelle Rodriguez in the y2k had that "toughness". LF seems in control, wild, seductive, masculine, brooding...dark in 'Jade' 'The Last Seduction'.

You could easily see the vulnerable scrappy call girl to rich businesswoman Julia Roberts (Pelican Brief, Sleeping with The Enemy), or the ice cold Hitchcockian Blonde Sharon Stone here -but the choice of raven haired anti-hero Linda Fiorentino was the correct pick.

David Caruso is clearly talented but doesn't have enough presence to hold the audience as the lead, especially since Linda is barely in the film. Chazz Palminteri feels like a better option to play the lead- he's smouldering, much like his onscreen wife (Fiorentino) and takes commend of the scenes he's in in a way that Caruso simply doesn't.

Nice to see Victor Wong! I would've liked more of him, and the Chinese/Chinese American actors to play a bigger role since they use so many potentially orientalist (and very 90s) visual cues that don't really end up having much to do with the plot anyhow- a better script could've tied this into a meaningful element. Simply having him identify a piece of jewellery was a waste.

Having seen Warren Beatty in 'Bugsy' sure, he would've been fine- i'm sure they wanted someone with clout for the lead, and Caruso had it due to his TV work at the time, but Chazz should've been considered, or the husband role is reduced, the wife's role increased and it's a cat-mouse game between "Jade" and the hot, daddy detective.

The film is an easy watch- but it's unfortunate to see Chazz and Linda in something so bad that could've been quite good. Everybody else feels appropriately 'bad'- these two are fabulous.

BITS:
The theatre chase is a clear homage to 'Lady From Shanghai'. Pleased I did the homework to see that. Makes me wish this was a better film!

Lady from Shanghai, Invasion of the Body Snatchers, and The Sweetest Thing...now adding 'Jade' (1995) to the San Francisco China Town cinematic canon. In fact, The latter features the same celebration mask seen in 'The Sweetest Thing' -I immediately recognized it!

It's sad 'Basic Instinct' inspired such bad copycats...so many of them had potential and they didn't live up to them ('Body of Evidence').

LOTS of ADR and scenes clearly shot without a boom mic. Not very elegant filmmaking I fear!

MAMA AN ACTRESS BEHIND YOU! Linda Fiorentino crying as her husband has sex with her. Woah...or her laughing during the sex tape! They loved a sex tape moment in the 90s, featured in 'Sex and the City' s1 and 'Body of Evidence'

???The wild car chase that seemed to have killed a ton of innocent civilians?? And they were Asian...no mention of this??

Holt McCallany! Hot. Actually they should've had him and Caruso switch roles!

The Governor's attitude is so nasty. Gross.

Dutch angles are so fucking ugly. They don't work here.

I definitely called the husband doing the murder!

During the sex tape you see some man-ass..almost like....the interior of it- CRAZY...I appreciate it! Also some CWNM where a man with Jade is completely nude- I like that it wasn't just Linda being naked here. Too often these thrillers do that to titillate the male audience. The appeal of Linda is how dominant and Bad (as in Bitch) she is! She openly states her enjoyment of her affairs and how in control she was.

Patrice Jacinto car death was so wild. Angie Everhart was fun to see here. She looked visually interesting, the red hair- it looked nice on film!

Come for Linda Fiorentino's effortless performance, stay for the sex tape scene where she laughs as she gleefully dominates a man under her husband's nose. Queen.

More of an action thriller-horror than a psychological noir I prefer- but still enjoyable, frightening and well performed. I felt immense sympathy for the victims and survivors of the crimes depicted, which are graphic and gruesome.

BITS:
'Devil's Bossa' by Mowg was a gorgeous piece of music for the opening.

Choi Min-sik from 'Oldboy' he is so adept at portraying dark characters. I think he's fabulous.

This film is graphic, stylistic -sometimes to detriment, as I found some scenes like the rape and others a bit fetishistic

I enjoyed the night sequences on the road. Chilling.

360 car killing scene was crazy

Cannibalism is crazy.

Morally complicated, downbeat and horrific. Wow.

Finding the Ear made me think of 'Blue Velvet'

Overlooked! I love discovering obscure (at least to me!) films via a service like TUBI. While the film isn't ambitious or really original at all- it's super earnest, almost kitschy in it's 1940s Noir homagery that I found the whole thing quite endearing. It's brisk at just 1hr30 minutes and the casting (especially all of the female cast, the film has much more women than men; love that for us). I think the mix of classic noir elements and mystery with a very early 90s romance narrative is cute.

I did not recognize Tommy Berenger from 'The Big Chill' without the stash, but he was so cute here- with the gruff voice, and nice lips and lived in detective outfit. I also just LOVE that everything these days comes back to 'The Big Chill' with me. Comfort film.

It was nice to see Kate Capshaw in this, I know her from 'Temple of Doom' where she's reduced to a screaming mess because of sexist scripting...here she isn't given many scenes but is fabulous with the time she has, you see these moments where she is so complex. Annette O'Toole ('Smallville' momma!) is ever devoted to her messy husband, and her scenes are restrained until a specific blow up and she perfectly conveys her emotional reactions.

Anne Archer is straight out of an old Hollywood picture and seems to be having much fun, by the end it's almost campy- I love her SO much and it was nice to see her play someone outside of 'The Wife' role I often see her in- it's like she was the original Michelle Monaghan.

Ann Magnuson is the typical crazy ex girlfriend and hams it up, again having fun with her role. I absolutely loved Elizabeth Perkins here, it's obvious she's a tailing detective, but she's subverted because she easily could've been a femme fatale but she's actually much more courageous and daring a protagonist than Tommy Berenger's Harry is. I loved her scene with Ruby Dee, who absolutely chews up the scenery.

The Portland filming locations are gorgeous. I loved the ranch settings, the bar, the motels (you know I love a motel noir moment), and the city lined with street lamps- I also loved the cinematography, with many blue lit scenes shot brilliantly by Elliot Davis.

BITS:

Berenger has chemistry with every one. Applause!

Music by Mark Isham. My man! I love his song 'Melissa' from Time-Cop (a film I haven't seen lol!)

So many horns in this film. HORNS. HORNS!

Here for the creepy bell hop girl!

sorry Ted Levine I thought you were Gregg Henry for like 40 minutes of this film.

Elizabeth's design in this film, the shades, dark hair, red lips. Brava!

Well directed! I loved the way it splices between different characters in the same scene- giving us a sense of a different POV!

This is a good- what i'll call 'Afternoon Noir' an easy watch!

Short, sweet, suspenseful and incredibly stunning with visuals, production design and shot composition straight out of one's 1980s aesthetic dreams.

I feel like this does the Hitchcock 80s revival thing WAY better than De Palma's horrible 'Body Double' film, and honestly- I think this movie should be talked about way more- I've never heard of it! Thank Cinema Gods for TUBI!

I love the behind the scenes of the news channel setting and the way it was utilized well, as well as the scenes with Jamie at the gorgeous shopping mall or wandering around her Hollywood Hills home. The film has some truly beautiful scenes, and Morgan Fairchild's performance feels perfectly soapy, restrained and dejected. Her makeup is superb, every shot of her feels like a magazine print ment for face cream or lipstick.

Andrew Stevens (apparently an exec producer on 'Things You Can Tell Just By Looking at Her'? oh...this KING) was really attractive and unnerving. I having a very scary experience where a man stalked me at a grocery store and then followed me on my way out (watched me leave, followed me in his car and then harassed me as I walked down a neighborhood street) and I was thinking of this as I watched. It is SO upsetting to be that vulnerable and have no one there to help you.

BITS:
The bad ADR lends a dreamlike quality to the film, almost in a giallo 70s type of way.

David Schmoeller also directed 'Tourist Trap' I love that film! He's a talent.

Utilizes the Hollywood setting in ways 'Maxxxine' failed at. Gosh I hated that fucking film.

Jamie's friend Robin was hilarious. If they went the slasher route her death and the ensuing chase scene would've been iconic. "How about me, I'm in commercials." I hope that queen booked 8 more jobs that year! I almost wish we had more of her, and like 10 minutes more of the film that featured her. Ohh! Colleen Camp (Robin) was in 'The Swinging Cheerleaders'! Familiar face!

I LOVE Jamie's bedroom, her hot tub and pool, her vanity counter, dressing room...oooh just so so luxe. I loved the telephone booth closets at the shopping mall as well!

Pre-internet analog telephone TERROR!

The dialogue is bad, but I DO NOT care! The sudsy cheesy music and very male gaze approach to sex is just SO of it's era...it's a time capsule.

Law enforcement is USELESS!

WHAT? apparently Bette Davis liked this film and sent a letter to Morgan Fairchild? DIVA.

Razzie nominations can kiss it, this film is underrated!

I enjoyed the soundtrack, the Han Zimmer score and the sweeping, silent scenes of the heroines driving on the open road. Such scenes felt meditative to me and the film itself is not so much about running away but leaving one place to find yourself in another. Though I knew the ending going in (it's hard to escape how iconic this film was, despite being misunderstood upon release!) I was struck by the emotional beats and revelations. It feels slow or sluggish at times and doesn't really need to be as long as it is- but I enjoyed the film, and was left in tears (I had to pull a classic Valley and put on 'Lover' by Taylor Swift and the Maurice trailer and fully sit with my sadness over the film.) I also had the curious craving to shoot a man after I watched this, and I love that for me.

Thelma's husband thinks he's hot shit because he's a fucking regional manager? I also read him as an ab as well. He's deplorable. The only man in the narrative I enjoyed was a surprising turn from Michael Madsen who's not presented as a "good man" (though him showing up at the motel initially feels like he's about do something horrible) because to me the tragedy that ensues of Louise leaving him, turning his proposal down feels so bittersweet, and doesn't feel like he exists solely to contrast the other bad men in the film.

Production design and location work are superb. Motels, phone booths, diners,motel pools, gas stations...I love that stuff. Y'all know! I also loved the transition from the beginning costume design to the end when they fully embrace their outlaw baddie vibration. Thelma I'm gonna let that Confederate Flag shirt you wear slide.

Watching this, I remain, (initially came up when I watched The Long Kiss Goodnight) that Geena Davis should've been 90s Wonder Woman...this was a hill we should've seen her drive over!

JD (Pitt) represents the Snake and the Farmer parable. Harsh reality. Ugh, I'm so glad they quickly got more money because i'm still triggered by the Gone Girl scene where rich, ignorant Amy is running around with her cash so obviously- and gets robbed.

Endearing in ways, but ultimately so heartbreaking- I can forgive the generic American Blockbuster elements (I think a Kathryn Bigelow type would've done far better with a project like this than Ridley Scott!). It's sad films like this or other women lead 90s projects (Eve's Bayou, Death Becomes Her, First Wives Club) didn't lead to the floodgates opening. I mean, it still happens- look at Bridesmaids and Girl's Trip...they are hits and then nothing happens after.
BITS:
-Thelma bringing a lantern for safety. Gosh she is so cute. It's horrible what happens to her- and seeing how innocent she is and knowing what's to come--- it hurts! I actually thought Brad Pitt was the rapist in the film but no---he's a young swindler. I think this was the era he was dating Juliette Lewis, originally when she was 16 to his 26?

The juxtaposition between Thelma's sex scene and Louise talking with Madsen (improvisation by the way!) worked well, initially the scenes were dragging until they intercut them between the sex.

-I can finally listen to the You Must This podcast episode about this film! Yay me!

-Women in the bar bathroom applying makeup scene!

-That Michael Mann wet street look!

-I love the bar waitress. She was real and she deserved that tip!

-The final goodbye scene with Madsen. Ugh. Poor Louise!

-Texas! oooh...she's seen some things.

-One dead honkey was enough to get all this man power involved? GIRL PLEASE!

-Thelma at the robbery. Yes mama.

-I love how the third act feels like those gritty 70s exploitation films I'd skim through years ago on Amazon Prime. I'd always find random and interesting clips.

-Love the visible sun damage on their skin by the third act

-The storm clouds pooling in the desert while the women wash up was good foreshadowing.

-Shoutout to Callie Khouri the screenwriter!

-Fuck all the cops in this movie too!

"A blond belief beyond, beyond, beyond
No return, no return"

RIP David Lynch! It's fascinating to compare this film at the tail end of the 1990s to 'Wild At Heart' which feels very much like a noir from the mid 80s. I like that his films feel somewhat out of time, but this one is pretty modern but in a way that utilizes both the classic and the contemporary; to that end the film is really his take on the 'Vertigo' dynamic of the blonde vs brunette and feels like an attempt at what he later perfected in 'Mulholland Drive' and then once again, in less effective way with 'Inland Empire'. 'Lost Highway' is a tale of the psyche, male ego and emasculation, paranoia and guilt. It's a mental prison of one's own making.

I love the mix of Badalamenti and Barry Adamson's score with the soundtrack by Trent Reznor, and songs from The Smashing Pumpkins and other alternative acts. The film feels blacker (the clothes, general dark aesthetic in scenery and style) than 'Wild at Heart' and 'Fire Walk With Me' it's less Americana and a straight Los Angels set claustrophobic neo noir.

The film isn't as well directed or scripted (unfocused), it feels like over the years he combined ideas that would go into 'Mulholland Drive' (the car tailgate scene in this film is VERY MD) and from the unmade Elizabeth Short Black Dahlia project he was working on in the 80s (Renee is severed much like Elizabeth was in that crime, may she rest.). I didn't initially gather this connection until today. Also, Alice seems to dabble in and out of crime outfits and sex work- another link to the Black Dahlia story (an unsubstantiated rumor by the way! It's weird the ways she's sexualized posthumously. Looking at you Ryan Murphy. Lastly the dingy cabin in the third act reminds me of the crime scene shown in The Black Dahlia 2006- by De Palma, Lynch is said to have been working on it in the 80s. Would've been interesting...since that film sucked!)

I also find the male gaze aspects a bit of a turn off- not even the infamous gun strip scene, but the utter lack of true male nudity considering how many sex scenes and topless shots of Arquette are littered throughout. Perhaps the intention is that this is his fantasy, where Fred is this innocent boy-ish stallion who gets the gangster's girl etc. etc.

The way Alice sports that ugly animal print jacket recalls the gaudy and less "classed" makeup Kim Novak wears once her disguise is revealed in 'Vertigo' (as discussed in the recent Be Kind Rewind video), making the connection really made me appreciate this film more. Zeitgeist. I love when my watches are lined up with other things I'm seeing around or reading about. Alice is introduced one way- and we later see the veil drop and how dangerous she can be. The jacket is the nail in the illusion Pete had of her.

I have been watching a lot of Bill Pullman lately. He's fantastic! I love him. He connects well with the way Lynch directs. I can tell. Patricia's voice is light like a feather, and her dual roles are fun to watch and she's styled interestingly- though she cannot walk in those giant heels they kept making her wear. Why do that?? Damn...give her a break! I liked the wigs! Renee has like a Bettie Page hair style, and then "Alice" has a bouncy 'Double Indemnity' thing going on.

Telephones, rotaries, tapes, old cellphones, motel balconies, denim, black t-shirts...love. I love the design and feel of the film. It isn't my favorite but it's still something I appreciate!

I took note of the party scene, the impeccably dressed background actors who suited the mood and vibe of the scene perfectly-making The Mystery Man appear as a ghost with a black clothed body and white floating face in a sea of people. Beautiful. Barry Adamson's 'Something Wicked This Way Comes' IS SO SEXY!

BITS:
-Janus Films!

-Brief nude man at the pool in the party scene

-The apartment is so trippy. I like it.

-Pairs nicely with 'Abre Los Ojos' from the same year!

-I like how horror this film feels

-Was that a Courtney Love jumpscare?

-Robert Blake and Marilyn Manson jumpscares!

-The opening track for the film titles is a Bowie t. I quite like it- it's almost Bondian.

-Very much a fantasy ideal of a loser man who longs to be sexually virile. What a loser!

-The beginning of the film is a mis en scene right?

-So many soul patches in this film. I'm scared. Ew!

-Initially, as a teen I preferred 'Wild at Heart' to this, now it's the reverse.

-Pete's address is Garland Avenue. Also the makeup for his injuries were so bad...

-Richard Pryor. Wow.

-Gary Busey is legitamately great in this. Like..no notes.

-the vhs tape sequences in David Lynch's 'Lost Highway' feel straight out of a horror film (and prefer Ringu/The Ring's cinematic release

-oh hey it's Natasha Wagner! She's cool!

-"I WANT YOU TO STUDY THAT MOTHERFUCKA!" Lmfaaoooo.

-Kiss Me Deadly definitely influenced this.

Underseen and discussed, oddly reminiscent of 'Sharp Objects' (but a lot of Southern Gothic material is related!) and sharing some locations with 'Lemonade' by Beyonce and 'The Beguiled' ...cool! Eric Stoltz and Benjamin Mouton are cute, Jennifer Jason Leigh and Judith Ivey do some fun work in this film, and look very much alike- the sister angle works well here. I think Anne Pitoniak was hilarious comic relief, and I wish the aspect of the mansion being a guest having Bed and Breakfast was utilized more. The film is short, maybe if it ran 1 hour and 40 minutes more could've been fleshed out, or perhaps a higher body count.

Jennifer is really anchoring this film, and is taking the material seriously. Her billowing night gowns and fog filled nighttime adventures to the swampy bayous were gorgeously shot and performed.

I don't think every film needs to be a masterpiece, the film is a tad uneven and the last 20 minutes affectively undoe a lot of the mood but straight up delving into slasher reveal terroritory yet the film was fun, and tight. I believe it's mood and thriller aspects and general haunting plantation (mmhmm) setting are gorgeous and y'all KNOW I love the Southern Gothic.

This is a fun movie when you want something easy to watch! Could be fun for a Halloween marathon. Along with something like 'Mountaintop Motel Massacre' or 'Butcher Baker Nightmare Maker'

BITS:
Though it seems to be an uncredited extra- the film starts with a shot of a man's rear. The rest of the film features some nudity from JJL but neither of the male leads. Still, what a way to begin! Points for everybody. The scene reminded me of the sex scene in 'Angel Heart' but with water vs. blood.

The TUBI video file is not HD and looks degraded and soft- lending to the magical dark quality the film has.

Cleve is ugly and a cop. Why is she with this man!?

Bayous, Gators, Thunder, candlelight, crucifixes, ghost stories!

Etienne is HOT!

The double jumpscare at the end got me!

I just this film not being as good as 'Maurice' and perhaps would've been best watched first, instead of right after that film- though the cast is great and the setting gorgeous- but the film feels forgettable in ways, I wouldn't mind a new adaptation that increases the homosexual content, I think that aspect was missing- like I felt like it was hollow.

BITS:

Conformity, Christianity.

"Catch it from a native girl. Syphilis." oh...?

"Nothing decent about colonialism." yeah girl you ate that lil one.

scenes of cricket are BORING

Beautifully scored.

Rupert Everett and Cary Elwes are way too cute to just have a forehead kiss. I NEEDED THEM TO KISS ON THE LIPS! Ugh.

Young Firth. Wow. I think his later role in 'A Single Man' is so necessary, itself a period piece as well- I love that.

"(cracking up) liberals always do!" Lol.

"I'm not a Solider I'm a School Boy."

One of the boys caught masturbating with another, killing themselves via hanging was so tragic :( I think there is more to be said and explored re: coming of age, sexuality and repression within a rigid school and societal culture- I mean, I FULLY relate to that, a readaptation or similar work would be appreciated.

Notes didn't have any ranking. Oops.

"What kind of life would I have without you?"

Finally found the notes for this. In short, this is one of the best films I've ever seen that moved and singularly affected me in ways I find beautiful, and tragic. I loved the emotional depth and I was brought to tears many times.

The film so resonant and rich, and it's impact on Gay Cinema is so palpable (what with the recreations of scenes and shared lineage of James Ivory through 'Call Me By Your Name' most notably). This film set off a period the following year, 2024- in which I sought such resolve and comfort in Merchant Ivory films, I would LOVE a meta romantic film based on the love story between those two men!

This film is so earnest in it's depictions of queer coming of age, the intimacy between Maurice and Clive and later Alec. Enchanting comes to mind when I think of the narrative. I felt for Maurice Hall. The romance, the unrest of wanting someone unattainable,.....looking back on the film it feels like a daydream, it arrests you.

I was going through a lot at the time I watched this film, and it no doubt colored how deep it affected me. James Wilby, Hugh Grant, Ben Kingsley, Rupert Graves, Mark Tandy, Simon Callow did superb work in this film! The acting, cinematography, locations, everything is just divine. I spent much of the following year watching the trailer (the film is on Criterion as well as Tubi, for Free!) and crying, it evokes such a response from me- I find comfort in how touched I am by the work.

There's a youtube video of collected deleted scenes which are worth a revisit, as well as a comment on said video by one of the screenwriters Kit Hesketh-Harvey who sadly ed away in '23; he gives insight into the production.

BITS:
We need more homoerotic dark academia films, set at the school or just with preppy or dressy characters- and with some much needed racial diversity. I like these aspects in 'Saltburn' but most of that film was outside of the school.

I like the scene where an apple is shared. As a Catholic school boy- I get the reference.

Poor Risley! Poor Ada!

It's barbaric to live a society where it is seen as immoral to love a man. The stifling societal pressure is the true villain at the heart of the story, Clive may be dismissive and selfish- but he's at the mercy of it as well.

I know class works differently in the UK. I thought of 'Gosford Park' whilst watching.

I love Maurice, Clive and Alec's hair.

seashell ashtray.

Helena Bonham Carter spotted!

The kid looks like Pet Sematary

"England has always been disinclined to accept human nature"

dicks OUT in this film. Brava!

I love the happy ending! Love despite how sad the film is, it's beautiful all the same.

I often related this film (during initial exposure to it through early 2010s Tumblr) to 'Another Country', which is cute- but NOT the masterpiece this is, sadly. Like, I know it was 1984- but I strongly dislike films that feature Queer men who aren't allowed to kiss. I hate it. (saltburn did this!)

RIP to Julian Sands, who when I watched 'A Room with a View', especially the fully nude homoerotic river bath he takes with Rupert Graves -I was like, he looks so much like Maurice, and Graves character seemed very queer to me. I lived. Sands was originally cast as Maurice? He would've tore!! I wonder why he backed out.

"You got me hotter than Georgia asphalt!"

This is a film that I experienced so beautifully, at first as a teenager, and now as an adult, weeks after the ing of David Lynch; with it's basis novel by Barry Gifford, Lynch writes and directs a fusion of hardboiled detective fiction, erotic thriller, southern gothic and romantic road thriller the film is ambitious in it's refusal to stick to one specific genre or tone- making the dream like and Wizard of Oz-ian touches all the more complementary.

Music by Angelo Badalamenti, you cannot go wrong! The sound of this film, the music, the singing and the visuals all blend so well together creating this beautiful picture.

Diane Ladd is freakish in this film, she goes all out- I'm happy she was nominated for it! The pink lemonade nails, the "fuck Lula's Mama" lines, the way she physically portrays the role as well. Brava! Though she's pretty messed up I do give kudos for killing her daughter's ab (?).

Laura Dern portrays a troubled, traumatized red lipped, tall escapist seeker who desperately avoids bad news as it would set her off*. I love how often she poses with her hands in her hair. She felt very intentionally directed! *Gosh she would hate the eternal doomscroll of modern internet...so much tragedy and trauma just transmitted to us daily. Woah. This is why I'm attracted to films from the 20th century, I find I can escape easier.

I didn't find Cage compelling or care much about him until I saw 'Moonstruck' and then 'City of Angels' soon after. He is so goofy, slick and odd in this, and it works! I love the Elvis singing, the americana vibe he brings to this thriller.

The motif of fire! We have cigarettes, matches, explosions, the heat of the summer...yes yes yes! I also love the stretches of the open road, motels, phone booths and seedy nightclubs!

30 minutes in the film has many sex scenes, but very little of Cage of shown. He does however sport a pair of tiny black briefs that are almost jockstrap levels of revealing. I liked this. It feels right for the character. But I could've used a little eye candy considering how topless Dern is throughout the film.

BITS:
I think I was sipping on Sailor Jerry when I watched this! One of the locations is North Carolina just like in 'Bull Durham' which I recently saw. Zeitgeist!

The film begins with the violent death of a Black man. Oh? Speaking of- Calvin Lockhart plays a small part, it's nice to see him- wish he had more to do.

Jack Nance!! <3

Tarantino reheated these nachos for Natural Born Killers, True Romance. Yikes..he could never. Which makes 'Lost Highway' star Patricia Arquette doing that film- after True Romance all the more hilarious, it's clearly a response to his copycats.

Sheryl Lee & Sherilyn Fenn! Oh it's such a shame they didn't become bigger Hollywood stars...they are STILL around, what are people waiting for?? The scene with Fenn after the crash is horrific! She was so so good, no doubt my choice, if Lynch's planned Elizabeth Short project had gone to production (based on the Ellroy novel that was horrible adapted by De Palma in the 2000s).

Perfume counter girl!

Grace Zabriskie!

I found the high pitched voice of the man in the Jazz bar really frightening as a scene. It just unsettled me.

"Jet Black but Gentlemen Prefer Blondes!" HA!

The scene where 'Wicked Game' plays

You can see the beginning threads of Mulholland Drive, Lost Highway as well as Rabbit in this!

The guy with the Confederate Flag hat in Big Tuna!

Abortion!

Why did Sailor even consider leaving Lula? Get your ass back in that car!

Willem Dafoe is so nasty in this, yet strangely sexy.

Definitely on the moodboard for 'Bones and All'

"Don't keep suffering it's all in your head."

Janus Films logo is always a good sign! I was a little drunk when I watched this which I think added to the vibration. At once familiar (I watched 'Vanilla Sky' as a child, and convinced my family the blockbuster VHS tape "smelled like vanilla", and revisited the film in my teens.) and foreign. I believe this is my first Spanish film (?) as well.

Recently deep dived back into 80s era Hitchcock revival films, which took the film noir base and added in post-Hays code era politics, nudity and birthing the erotic thriller...by the 90s (1997 the release date of this film) the genre was reaching oversaturation but this film, being non-American yet featuring aspects of Vertigo (hollywood film, British director) The Phantom of the Opera (French novel) stands alone... at once a trippy psychosexual erotic thriller, a body horror, an existential futurist sci-fi picture and a romance rolled into one. Superb. I love when films find you at the right time.

On top of 'Abre Los Ojos' (1997) being such a good film they play Sneaker Pimps track 'How Do' during a really trippy club sequence...the juxtaposition of a 90s spanish Hitchcockian Vertigo update with a trip hop song like that was just FEEDING me. That song featuring the gorgeous yearn-filled vocals of Kelli Ali perfectly encapsulate the y2k aesthetic of Abre Los Ojos, the feelings of unrequited love and the torture of dreaming of a better life amidst a nightmarish reality. wow.

I love the way the film takes the Hitchcock Vertigo obsession angle and adds in a healthy dose of The Phantom of the Opera. The mix feels unique despite being a long explored trope in media- it doesn't matter, it's what you *do* with the material that matters.

I was thinking about an experience I had, a brief connection with a young man- at the end of summer. And how he disappeared when it ended, and I caught feelings. But when I think of him now his face is blank, but I'm left with the yearning- paralleling with this film.
The way your dreams, desires and insecurities construct a false reality or an obsession. You can meet someone that is as if your Pinterest board has come to life, and then it's over and you playback the footage of your dates on repeat- but each time their image fades. Haunting. Seeing the character confuse one love interest for another, and the violence that ensued felt so palpable and scary. Cesar's mind became a labyrinth of trauma and torture.

BITS:
RIP Chete Lera- I'm quite partial to older paternal figures in films. I think Antonio is a stand-in for Cesar's departed father, which added a sad element once I realized this. Being told by Antonio that he cared very much about him made me so sad oh my.

Cesar being only 25 in this is wild, considering Tom Cruise was around 39 in the US remake. I think his youth added to his character, whereas the playboy American douche thing reads differently- in ways closer to Fincher's 'The Game' which definitely came to mind when I watched this. Rich, asshole narcissistic bachelor has a birthday and crazy thriller adventure ensues, but also at the hands of a shady company?

I love Penelope's hair in this. She is so good in this role, portraying that angelic quality so well. I love that she's in both versions of the film!

I love the direction of the party scene when Nuria searches for Cesar. It hits the same as it did when Cameron Diaz did it in 'Vanilla Sky', that feeling of wanting someone so unattainable, emotionally distant. Oh. That hurts.

Perfectly conveys the horror of having feelings for someone you never see again, and who functionally only exists as a figment in your memory that will begin to fade as time goes on.

The Club sequence was so so moving.

Cubed glass in the apartment. Ugh...bring it back!

Eduardo Noriega is fantastic here, heartless, then a victim of a crime that would've been avoided had he treated a woman with respect. He looks similar to the guy from the summer I mentioned, but even then i'm not sure. I think seeing yourself reflected through a fictional story, is a magical element of cinema.

Poor Pelayo

Love the direct Vertigo homage! Zeitgeist- I just finished Be Kind Rewind's video on Hitchcock Blondes/Brunettes yesterday (i'm writing this review on the 5th!)

I'm not surprised 'Eternal Sunshine' came out a few years after this, and the remake. Something was going on with the culture in the late 90s 2000s. Even the non-linear vibe here or twists go along with 'Memento', the aforementioned 'The Game', 'Mulholland Drive' (itself derived from 'Vertigo')-also visually reminded me of the film 'Birthday Girl' with Nicole Kidman- all of these films are super y2k- the incoming millennium reflected in a myriad of ways.

the line "I forget I get vertigo" at the end

The script and pacing could use some tweaks, but then again it's translated into ENG so it likely works fine in Spanish. Regardless, I loved the film and I'll be thinking about it.

The following was written in 2020, reflecting a few unnuanced points I likely wouldn’t have today, and after the first paragraph is basically a rant:

'Young & Beautiful/Jeune et Jolie' (2013) ...gorgeous French film. Its subject matter is difficult and indeed indicative of the predation young girls go through when coming of age. I found it quite profound really.

The difference between say, Call Me By Your Name and something like Young and Beautiful/Jeune et Jolie, is tht while both feature beautiful visuals and narratives abt coming of age/teenagers pursuing relationships and sex with older men... One romanticized it/without critique 

The other doesn't do this, but instead presents the narratives, and allows the viewer to come up with their own ideas of right/wrong, tho it imo is subtly or quietly critiquing predatory older men who seek transactional "relationships" with teenaged girls. Re: Jeune et Jolie

I've read/listened to praises and critiques of Call Me By Your Name, I just didn't feel particularly interested in the narrative (it's predatory) , esp once aware of the creepy pedophilic comments the author made. I'm also? Kinda good off cis white gay movies. It's been done.

I much rather watch a film tht is unique and or one tht pushes tht viewer to think and get into the mindset of a difficult, flawed character versus a film that seems to put rose colored glasses over a 17 year old and a 24 year old man having sexual relations. Just me.

Of course I too have been seduced by the lush green imagery, and gay loneliness tinged visuals of Call Me By Your Name...but I'd rather not tbh. So I haven't seen or read the novel/film. Don't plan on it either lol. It just doesn't strike me as tht interesting.

“I am happy with the theater behind my eyes.” 

Pablo Larrain’s Maria excels in it’s vignette framing giving us a glimpse and picture of Maria Callas- Angelina Jolie is magnificent and transformative, incredibly physical  
in her role. The Academy snubbed her. Well she has an Oscar already. So SUCK it. 

I like that the other Pablo Larrain films are echoed in Maria (Jackie,Spencer). I like the boiling psychological aspects of these films (I need to see Jackie!) to me- perhaps we can understand not the whole of a person but a glimpse of their essence through a short period of time- a vignette versus the traditional biopic approach. 

The styling, makeup, shot composition and lead performance are all firing at 10. The film feels luxurious, lonely -utilizing shots with a lot of head room and empty space; we see haunting flashbacks illustrating a life where innocence is interrupted, in ways the film works on a meta level for Angelina herself especially given how characters like Lisa Rowe or Gia Carangi echo in this performance. I love that. Echoing in ways Jackie, Spencer and Maria form a trilogy of sorts. I’m sure Angelina resonated deeply with this film. I know I did. Is there really a world outside of the stage? 

It’s nice seeing a grown up Kodi Smit-Mhee, he is really good here and I liked the way his character was a commentary on her struggle to control her own narrative. 

This film season is full of women giving their all in these highly spirited and physically taxing performances. Angelina Jolie is an ace. I love her so so much. 

I am a big fan of Vincent Macaigne, always a pleasure to see him. Besides Kodi- he is the best ing performance. I feel like the others aren’t giving the best dialogue but do what they can with the material- Mr.Onassis repeats dialogue about being ugly or things in conversation one can predict-I do not think it hinders the film too too much. Bruna and Ferruccio balance out and ground the film-almost in a way that recalls a play, tethering us to the material world outside of Maria’s descent into fantasy. 

Suzie Kennedy as Marilyn Monroe. Hey girl! I was thinking about MM while I watched. It’s too bad that Blonde film was just released, I wonder what Pablo would do with a Marilyn story. Or a Britney film (or Madonna) either with Lily-Rose Depp in the role. 

Maria is so fabulous in this, she is so quotable. I think it’s the fashion film of the year as well! Massimo Cantini Parrini did his thing! 

I was on a bit of THC edibles. Hehe. 

Blue Hour walks in the streets with the street lamps. Gorgeous. 

The ending use of characters fading felt corny. Angelina Jolie ate regardless.

“Certainty is the enemy of unity.”

Ralph Fiennes anchors this film with his smooth voice and internal struggles as Cardinal Lawrence. Tucci, Diehz, Lithgow, Castellitto and Msamati are good in their roles, especially Tucci. That said I couldn’t buy into the hype for this film after its first act..it’s final 5 minute reveal twist felt clumsy and self congratulatory in ways Emilia Perez is justifiably being dragged for. 
Isabella Rossellini is underutilized yet somehow snagged a Best ing Nod at the Oscars… it is evident the industry and film fans enjoy this film. That is ok. I felt very middle about it. 

Gorgeous framing, composition, and an almost Gothic visual style are all very impressive. Cardinals are shown vaping or smoking, it feels naughty. A beautifully composed scene at an auditorium felt striking and memorable. 

I found the string (?) musical beat throughout the film very tired and felt like something featured in every major trailer release of a film the past 8 years. Some of the other music was beautiful. 

Bits: 
Lasagna, coffee, chocolate cake with powdered sugar. Yum! 

Shanumi is a pretty name 

60 year old homophobic Cardinal from Nigeria…oh he needs to decolonize. Sad. 

“I am what God made me.” that’s really great and everything and I appreciate the intent behind this type of character and representation of a intersex person but I also feel like this film perhaps thinks it’s more clever than it is and it shows its hand in a way that feels almost preachy. I wish the film focused on the Benitez character more if this reveal was going to hit as hard as they intended. 

Ralph Fiennes telling the other Cardinals they’ll never be Pope gives “you ain’t no Diva!” Vibes! Ha! 

Isabella is so good, but I fear it’s just a late stage industry veteran getting their flowers for a recent hit versus being recognized in their earlier years. Like sure she was great, but I don’t think the role was media enough to warrant the best actress nod. 

Tucci and Fiennes gay vibes 

Initially had no intentions of watching this film, especially after seeing the trailers and it’s unfortunate that I was correct because this film for me.

Literary body horror erotica with a dash of neo noir? Fuck yeah...

With a stylistic approach reminiscent of hard-boiled fiction and a body horror grit juxtaposition 'Naked Lunch' stands alone as both a semi-biography, and adaptation of William S Burroughs- something Luca Guadagino and Justin Kuritzkes also did with 'Queer' to varying degrees of success. Since I had since the latter first, I am unable to cease comparison between the two. The world of 'Naked Lunch' feels lived in- and either very warm, or super (visually) cold. Gorgeous. I watched this on edibles <3

Peter Weller, Judy Davis, Julian Sands (RIP! who I always thought was the lead of this film, it was about all I knew of the film was his presence- the film is not available to rent or stream, I watched via a Google Drive link. Long live film archivists!) are all great. Ian Holm, my man Roy Scheider are welcom additions. I recognized British-Canadian actor Julian Richings from a host of things he'd done, that's always cool-I like that about Cronenberg films, i'm like wait...I know you from this obscure Canadian show- in this case it's 'La Femme Nikita'.

Joseph Scoren/Scorsiani (RIP!) was so adorable as Kiki- one of the North African (gay) boys that eventually becomes intimate with Weller's Bill Lee...the scenes they shared together seem like a direct parallel to the visuals of "William Lee" and Omar Apollo in 'Queer', the white foreigner and the soft, docile indigenous boy- seen as a sexual appetite or one to put up to the slaughter and not much more. Harsh. I wish Kiki was a part of the story more, and I wish they had shown men kissing in the film. I think especially since Cronenberg said if he did a straight adaptation of the novel without any of the biographical aspects and changes, it would've been banned-I can see why aspects are not shown. Still, I appreciate the queerness of the film.

There's a claustrophobic "in studio shot" aspect to this film I enjoyed, I didn't think it's decidedly budget friendly approach was a hamper on the film. Also, miniatures in the background standing in for buildings happens here- and later again, in Guadagnino's Queer- which leads me to believe this film is the genius of that in the Burroughs cinema canon. Replace prosthetic bugs with CGI penises and gay sex scenes, and 'Queer' is essentially the same film as 'Naked Lunch'.

The bug from Kafka's 'The Metamorphosis' yes...Fafka's influence can be seen in this film, but also the ending of (which I now only realize) Gregg Araki's 'Nowhere'. Speaking of- I see the bugs as a metaphor for the addiction Lee faces.

The sartorial choices here are stellar- I love a good eyeglass showcase and in general really enjoy 50s fashions! The immersion of the film in general was quite strong.

BITS:
Woah Asian C slur, and the character is credited as such.

I was confused thinking Bill was initially played by Julian Sands, and I was like "when did he look like this?" lol

Fingering the bug's hole was kind of hot. Sorry!

The woman in the cafe in 'Queer' looks similar to Judy Davis in this film. Was this a reference?

(Roy Scheider could've done Daniel Craig's Queer role in the early 90s!)

"Say why don't you and I him" (referring to an orgy with Bill Lee's wife and two other men.) WOAH.

"Are you a faggot."
"I am not." >>> recalls 'I am not Queer, I am disembodied" from Queer. Also the centipede necklace is featured in both.

I was thankful that Judy Davis came back. So odd she has similar fates in both 1991 films 'Barton Fink' and 'Naked Lunch'

I would've been interested in a Kubrick version, which was at one point a possibility- given how gay Barry Lyndon was.

'Dark City' film comes to mind

Barton Fink and Naked Lunch both take place in the 1940s or 1950s and follow writers living with writer's block. They both were released in 1991. Strange. Both have Judy Davis in them. They form an unofficial duology- also, yes the zeitgeist!

Most of the practical effects hold up, the giant shapeshifting rape bug scene did not. Also? Poor Kiki :(

Horns! Beautiful musical horns!! I loved the intro music!

mujahideen!

"America is an old evil."

Fadela being a white man in drag is...a choice. But I think the trans allegory of it all is kind of fun. But yeah, it's lacking in racial sophistication like ...um.

Words forming into a flesh organ....cool concept.

Michael Zelniker looks like the ginger boy featured in the beginning of 'Queer'

SEE also:

letterboxd.sitesdebloques.org/valleywitch/film/barton-fink/

letterboxd.sitesdebloques.org/valleywitch/film/queer-2024/

letterboxd.sitesdebloques.org/valleywitch/film/bull-durham/

The salt of the earth, boy next door appeal of Kevin Costner is evergreen. It is how I feel when I watch Harrison Ford or Denzel Washington in their golden age- It's incomparable to modern "movie stars" this type of star is extinct. Costner SHINES here in a snappy dialogued script, full of yearn, desire, commitment and chemistry.

Despite being 4 years apart- Tim Robbins plays the youthful character Nuke quite well. Susan Sarandon is the anchor by which the film is grounded upon- she's alluring, focused, free spirited and has that esoteric energy trendy in the late 80s.

4 minutes into the film you see Jacob's Ladder's butt...I mean we are off to a good start. I was surprised you really only see Sarandon topless at the very, very end- but the rest of the film is incredibly homoerotically charged, and full of male nudity-even full frontal on some of the background performers. We see a LOT of Tim Robbins aka Jacob's Ladder. For whatever reason a lot of movies from this time were not afraid of male nudity.

"male bonding/latent homosexuality" the film lampshades the legitimate homoerotic tension between Nuke and Crash directly. You can tell Justin Kuritzkes watched this with Guadagnino for the 'Challengers' production- and honestly, this film does most of that MUCH better, is there an original bone in that duos body? First noticed with 'Strangers on a Train' and now this? If you combine those films together you basically have 'Challengers'. There's even a parallel to William S. Burroughs’ ‘Queer’ ', also by Justin and Luca (the film adaptation) when Nuke is in women's garters (with a huge bulge!) and repeats that he "ain't Queer"- interesting! This more than anything is probably a coincidence, but interesting to note- I watched 'Naked Lunch' which I had no idea was based on Burroughs as well (until I saw and read up on 'Queer')- and it features the line "I'm not Queer". These films are in conversation with each other- this I call 'Lineage Theory'.

"when you know how to make love, you know how to pitch" sports metaphor with sex recalls themes in 'Challengers'.

This movie is for adults, all the characters are grown ups, the film is full of explicit language and sex humor. It's not particularly sophisticated, but it's good clean funny, fun material that doesn't need to be anything but- these days, all films need to be everything- all at once. Snooze!

The direction is superb. I loved the scenes of the kids ing notes to the leads as a way to communicate during a game, I loved the set and costume design with white collar shirts, white blankets, doily pillows on a large cozy Carolina bed.

Walking in the rain, and your man is waiting for you on the porch. What an ending. I'm a sucker for that shit.
BITS:

Perhaps the film was directed in the "female gaze" giving the girls some baseball beefcake- but, it feels VERY gay to ME! More please.

Rick Marzan plays Jose, the cute Latino player who uses voodoo (shouldn't it be like brujeria or santeria? idk...80s thought anything religious and indigenous was voodoo) chicken bones on a charm to bless his baseball bat. I thought it was cute. They didn't understand the distinction between Mayans and The Aztec people either. Also "Chakras" Lol..ok.

Milie's character being defended feels sex positive. Dope.

Strange parallel. This film takes place in Durham, North Carolina- the setting of the Kathleen Peterson murder, which inspired the Staircase series- This season of The White Lotus features a southern accented family, who share a name with Kathleen's daughters- Ratliff. Weird. Weird. ZEITGEIST. (RIP Kathleen!)

I Sing the Body Electric (as a child of the Lana del Rey tumblr era, the references to poets is not lost on me. I did that homework!) ok...Walt Whitman, Dark Academia serve. Ok girl!

I loved Milie's pink bra with the underboob showing with an unbuttoned pastel patterned dress. That's really sexy. This film is VERY sexy. Sexy, silly good fun!

Baseball uniforms are hot!

'you boys gonna fight over little ol' me' is from THIS? It's referenced in Batman & Robin, which is notoriously homoerotic as well...the ZEITGEIST!

also Costner stars in Bull Durham, which features a JFK assassination reference....in 3 years from release- Kevin Costner would star in (the fabulous!) JFK film in 1991...the ZEITGEIST!! C'mon now!

Tim Robbins is 6'5? Damn boy...

Confederate flag on a wall in the locker room

stadium wedding? cute

"I just like seeing you get all wound up." Crash and Nuke please just kiss other. Stop fighting!

Horns! During the apology scene. YES!

Costner slaps Robbins butt "That's hot" referring to him in women's garters.

I liked how by the end Nuke was dressed like Crash in the white collared shirt. Gay asses! Y'all are in love. Character development.

Kitchen seduction attempt was very The Graduate, with the positioning of her leg.

the 'I want to watch you' strip scene was hot! More women directing men on how to be seductive (y'all need the help!) scenes please!

At less than 1hr30 'The Woman In Question' excels at creating interesting character mythology, compelling shady characters and a titular woman who is as venomous as she is, well-frankly- a bad bitch! She's a city girl, what about it??

A British Noir mystery- the film utilizes a contradictory story telling device showing different aspects of the same story- painting a broader timeline and series of events- I found this intriguing, and I believe it's referenced as a Rashomon and Citizen Kane effect on Criterion ( I should watch those films).

The films use of humor was welcomed and I found the gossipy neighbors juxtaposed to the grisly crime to be of interest. I think UK films got away with a bit more than the conservative era of 50s American cinema. They got a bit cheeky with it.

Beautiful interior of Astra, our fortune telling lead/'s house. The film feels intimate with only a select few locations (including a fair!), which adds to the mystery element. Many scenes are cloaked in shadow as well. There's an English seaside nature to the area which I adored.

Jean Kent is wonderfully cast. At once awful, drunk and biting, then lovely and angelic, or vulernable, or manipulative... she conveys her range well here and seems to be having a ball doing so.

I interpreted the use of bird cages as a noir convention here similar to the use of venetian blinds in Los Angeles Noirs- Astra is lonely- the house is a cage.

BITS:
I love that the sister works at a perfume shop; that's always a place I wanna see onscreen.

1950s coca-cola, fairgrounds, street trains (shown offscreen in an effective jumpscare)!

Ahh Anthony Dawson I recognize from the James Bond universe.

Another Janus Films t. Cool!

rum and milk is referenced in this, and the premiere of season 3 of 'Yellowjackets' which I had watched the same day. Woah. The Zeitgeist.

I thought the Bird Man was sweet until...

The "There's someone coming up now." scene was creepy! Good direction!

Romani G slur use

Hot Irish dude.

I like the detective!

The long and short of Valmont (...the forgotten *other* Dangerous Liaisons adaptation- is that while Fairuza Balk (14 at the time- spending the entirety of the 2 hours outacting the adults in the film!!!) is splendid, and the visuals stellar- the film feels tepid.

The 1988 Glenn Close picture and even the MTV era Cruel Intentions (which takes from 1989 as it does the 1988 film!) version are better. I do like that they avoided some of the tragic fates of some of the female characters though. Meg Tilly shines as her typecast sweet and innocent girl, serving a dose of Red Riding Hood in her later scenes. It all comes back to 'The Big Chill' (Glenn Close, Meg Tilly starred in that together- I almost wish we could've seen them tackle this story together! Though Michelle Pfeiffer was great in that.)

Kudos for the use of a body double on Fairuza Balk, I believe her Mother and her both rallied for it. I think having Cecile played by an actual child actress adds to the depravity of Valmont- that we lose in Cruel Intentions and Dangerous Liaisons w an adult actress. The film doesn't portray Valmont *as* bad as he is in the two other films- which leads to the film's biggest problem. Colin Firth is good- but the narrative around Valmont is so limited; it's truly Cecile's story- which is cool, but it focuses so much on other elements outside of Valmont's cruelty and perversion that we are left to fill many a blank.

Henry Thomas was very, very good! The jumpscare reveal of him in Merteuil's bed was funny. Because they are child actors the adults "having sex" with them just feels so wrong and nasty. I do think I like how Merteuil is left not publicly shamed or exiled- but left in a prison of her own making, and forced to live a lonely life. She made that bed. I thought the sword fighting scene with Henry Thomas was dope as fuck- c'mon Paul Atreides!

David Duchovny was up for the role of Valmont?? I would've LIVED for that. I heard Drew Barrymore was considered for the 1988 version...is it chaotic to wish we had a third adaption at this time? But *only* if a body double was used for Barrymore...but considering her early 90s work Hollywood would've jumped at the chance to exploit her. Never mind.

Siân Phillips' matriarch role is well cast! Initially in the background I thought Alfre Woodard was playing Victoire, played by Aleta Mitchell. This seems to be the only adaptation I've seen that shows Black characters, besides 'Cruel Intentions'.

The film looks and feels decadent and lush, with crisp greenery, beautiful Oscar nominated costuming and interiors you want to pause to ire. It's gorgeous. I especially liked all of the pink garments!

The film starts stronger than it finishes, but is still enjoyable. I just don't think it fully rises to the heights it could've reached.
Dangerous BITS:

Fabia Drake was so funny. RIP! Her final role.

The rowing through the pond scene!

Candlelit dinners were Bening shades Tilly. YES!

Fairuza's singing voice! Ugh...she is so talented. I hope she is well.

I like the "secret" husband suitor, and reveal scene...and how gagged Merteuil was when she realized she'd been dumped.

"he writes me letters" referring to Danceny reminds me of Cecile saying Sebastian took her panties down and "wrote the alphabet with his tongue" in Cruel Intentions.

There is a shot of woman's footwear that felt very proto-Marie Antoinette! I bet Sofia has seen this.

As stated with Nosferatu, I think we need more repeat adaptations. They are fun!

Though she would've played a smaller role of the sex worker in Dangerous Liaisons- I think it was best Annette took this role- she's fine in the part, she isn't miscast per se but I think the lighter tone and more comedic direction of this film are at odds with her performance. Nobody can do what Glenn Close did, but I think if given the chance she would've been great in the 1988 film.

Bathing with clothes on. Tepid. Weird. People were weird back then.

No feminist Merteuil monologue :(

I love the love letters being placed in secret in the harp!

After 'The Conversation' I watched this, which strangely had parallels with one another. Denzel in 'Deja Vu' reminded me of Gene Hackman in 'The Conversation' which was commentary on the era of Watergate and paranoia; to me Deja Vu seems to have been at least partially inspired Nolan's film Tenet- which stars Denzel's son John David Washington. Both aforementioned deal with religious themes as well.

Post-9/11 and Katrina play into Deja Vu as well, and it's more racialized casting feels unique and I appreciate that aspect. Tony Scott directed this, and directed 'Enemy of the State' which is effectively an unofficial sequel to 'The Conversation', so the zeitgeist going into this film, and the film itself is just...going off. Wild.

Denzel, Val, Paula, Jim Caviezel, Adam Goldberg, Elden and Erika Alexander are all good- but some of the lower tier ing characters were not good actors. I feel like there was a level of unsophistication going on- and yes, it's a mid 2000s blockbuster action film with a VERY American commercial vibe- but still. In a sense that type of cinema feels so specific to it's era- it's almost nostalgic.

An example of this in more detail, along the lines of sophistication- is it's New Orleans setting. This would've ATE as a 90s Southern Gothic set time thriller. By 2006 that style was completely out and things had to be full of shakycam and grit. Ahh- Tony Scott directed 'Crimson Tide' as well...I have to get that review up. I wish this film had been made back then!

BITS:

I like the dramatic camera zooms.

I immediately recognized Elle Fanning! Hey girl! So he's work with both Fanning sisters! It's wild she gets blown to bits in a few seconds of the film starting.

That camaraderie between Government co-workers they do in these types of films sometimes pisses me off, not everything can work as well as it did in something like 'The Fugitive'-I think it's why I prefer lone wolf narratives.

Coffee pot scene...get my man some coffee!!!

Analog technology just feels more cinematic than digital time magic

Recently watched 'Laura' which has the plot of falling in love with the image of a dead woman. Zeitgeist!!

Claire (Paula Patton) looking up towards the camera- that was a great scene! But why was she in lingerie? Male gaze...like ok make it equal have Denzel go into the time machine NAKED! Anywho, Claire is compelling she's our corpse, our living ghost- our Laura Palmer.
Yeah the nude scene of her was unnecessary, especially since a whole team of people are watching her from another timeline.

The car chase scene feels very Tenet.

I like the sci-fi talk and the mystery element. Like the fingerprints on the scene being from the branching timeline, that was cool. At the very least Denzel seems to be having a lot of fun, and I enjoy that for him!

The logic of the sight decreasing goggles while driving on the road...come on now. The logic (despite how cool it is!) of the laser scene...COME ON NOW!

Confederate flag owning, racist white terrorist villain.

Why the perp and Denzel flirting in the interrogation?

The time travel is cool.

I feel like I really just wanted this film to be a campy 90s thriller like 'The Fugitive' or 'The Net' that are more airport novel-esque- they feel sexy and cozy and escapist. This film is much more serious, but because of the plot being so contrived it doesn't fully gel.

I cried at the ending lmfaao. I think it's sad he died with no family in one timeline, with just Adam Goldberg waiting for him. So, in one timeline isn't it not a happy ending? I do think it's valuable that the film is like a beacon of hope after Katrina, and is a message of hope and resilience, that's cute!

I had been wanting to watch this film for a while, and it definitely lived up to my expectations. Shot on gorgeous Panavision PSR- the film is paranoid, full of shadows and backstabbers; the sense of distrust is palpable and you are left with an unnerved feeling. I think this generation (1970s) were really grappling with these intense feelings considering the political mood of the mid 60s up to that point in 1974 from assassinations to Watergate, the Vietnam war etc. I wonder what films will speak to my generation what with the recent election and such.

The mood is uneasy, frames are angled sharply on screen as if the city itself is a part of the conspiracy, the corruption- lending the film to a dystopian feel really. It is gritty. Gorgeous medium shots and composition.

I had no idea Harrison Ford was in this! My baby daddy??? It was nice seeing him play against that All American Hero type I am used to and he was incredible. He plays a sinister Christmas cookie making assistant? This was one of his breakout roles! *Wait I did not pick up on his character being gay lol.

Harry is unable to trust, to get close. He is riddled with Catholic Guilt. A tortured character study. His work is his home, no identity, just a job. The tape playing during a love scene; brilliant directing choice- illustrating his lack of separation between his life and his work. Sex while drenched in shadows. The later twist reveal hurts, as his one moment of vulnerability is thrown in his face.

Bugged Bits:
It's interesting to see that 20 years later Hackman played a similar character in an almost action-y update of this premise with the film 'Enemy of the State'

Hotel jumpscare. Woah.

Influenced by 'Blowup', which I've yet to see but I did see 'Blow Out' and I can see the threads. *EDIT: I noted the similarities in my notebook, as I write this out. Hehe.

There's a man who makes a gay joke, then grabs a man to dance with. Closet metaphor?

Green dress woman speaking in hypotheticals. Great scene.

Teri Garr favors Candice Accola. I love that the protagonist pays her rent.

Phone booths, tape recorders, noirish bus rides, Hackman's stache, and glasses.

Just realized how 'The Conversation' is a birthday film like 'The Game' is. Well, somewhat.

Newspaper headline about Israel killing "hundreds of Southern Lebanese people" is shown. Between October 8th 2023, to November 26 2024 Israeli forces killed over 3,000 people across Lebanon....wow.

It's funny- I think Harry Caul would HATE social media/the digital age.

Beautiful sound design

Hot day, hot spot, hot deals. Now this is a summer film!! This film is so easy to watch, it's sexy, naughty, nasty and chaotic.

Shoutout to Nona Tyson who co-wrote the screenplay!! I hope the perspective of her's offered something in it's depiction of the female characters-whom I loved. Connelly, I love you girl! Virginia? I haven't seen her in a role like this- she through caution to the fuckign wind.

Having seen Robert Mitchum films over the recent years- it's interesting this was originally screenplayed as a vehicle for him- I find the update of the material and contemporary casting almost like the 80s 90s Hitchcock pseudo-remakes. Shooting on location in Texas, you can feel the hot, sticky atmosphere from the very first frames of the film.

Roger Ebert rated the film 3/5 and wrote that "Only movie lovers who have marinated their imaginations in the great B movies from RKO and Republic will recognize The Hot Spot as a superior work in an old tradition." and I believe this to be apt. It's a sunny, erotic noir in 90s tradition but follows many of the conventions established in 40s and 50s hard boiled noir. I like this a lot- the anachronistic element, it's like around the 70s we could finally see how explicit noirs could be -but by the 90s they wanted to really just give old school noir with an updated element vs just making it a nudity fest, a film like 'The Last Seduction' is an example, whereas The Hot Spot is knowingly seeding, and salacious, it's not trying to be anything but what it is, and it's unpretentious approach is charming.

When Virginia Madsen appeared on screen I said "MOMMY!". Her pink steering wheel? She's just so good in this. Happy to learn Virginia Madsen rejected appearing nude in a scene, which Hopper later agreed was correct. "Not only was the nudity weak storywise, but it didn't let the audience undress her". She is simply on 10 in this film, and it seems like she's having so much fun- a true amusement to behold. Love her!

"What are you 35/36?" meanwhile Don Johnson looks like a solid 45- despite being 40. Jennifer Connelly looks young enough to play his daughter.

Texas Bits:

Don Johnson looks like Evil Kevin Costner mixed with Mr. Big

I love the brick wall with the Coca-Cola ad on it

Jennifer Connelly's brows >>>>

Musical horns. Noir. Ahhh.....this is a reprieve. Erotic thrillers or noir films and horns...my happy place!!

Something about a small town setting.

The gated bank interior was dope

Jack Nance! RIP

This is like a wayward detour episode of Twin Peaks/Lost Highway.

Something so sexy about a man in a white undershirt. Speaking of- for a director so male-gaze-y as Hopper I appreciate the amount of manass in this film.

Southern Noir yes PLEASE!

Now why homegirl Connelly naked with her sister? Or was that her teacher? Anyways...

THUNDERSTORMS!!!!

The romantic tension of working in adjacent offices. Window framing!! Ugh. YES!

Certainly a film that stays with you- and I'm quite partial to Queer Loneliness tales- however though visually decadent, sexy and striking emotionally and thematically the film suffers from it's overlong runtime and flimsy at times scripting leading to an incoherent and frustrating narrative that perhaps is meant to mirror addiction and limerence but also comes off pretentious.

'Queer' is visually and sonically inspired with shot composition, miniatures and saturation levels common in a 1950s Hollywood production and it's anachronistic editing and needle drops were superb. That said the CGI snakes, and prosthetic digital penises used for Omar Apollo (who was great in the sliver of a part they gave him!) turned me off- It's much more alluring to see a bulge in a tight pair of briefs and a butt than a fake penis with off proportions and geography- I immediately clocked it. If the actor doesn't want to show full nudity, just have them in briefs- I don't think it's necessary! It looks superficial when the story is so human and so cerebral.

I LOVE Daniel Craig and it's rare for me to appreciate male actors the way I do with him, and this was prior to watching his 'Bond' work. He is astonishing here and plays against type, but also doesn't feel Craig at all, he disappears into the role.

Starkey is aloof, manicured and sometimes cold beneath his boyish yet steely exterior. I'm left wondering his character Eugene acted the way he does and I think I may have misread the scenes (as ambiguous as they were!) towards the end, I interpreted that he was shot and killed in the jungle and this was due to his rejection of Lee- and the murder haunted Lee for decades to come. However, it seems he just went on about his life after the South America trip and became independent. Severing ties and finding himself.

The push pull is what the film really is about, the toxic limerence and the loneliness of Queerness and the dynamics of wanting someone unattainable and using your wealth and experience to try to gain control over them. Did Eugene love Lee?

I tried to go in relatively unaware of the story which how films are best enjoyed in my opinion. I felt the first act was easy to watch and quite compelling, but as the film went on the excess begin to show and the story loses itself. I think they could have trimmed the fat and made the film maybe 15-20 minutes shorter.

I loved how intimate the film is, you don't get an idea of the outside world just the POV of Lee and aspects of his community in this little area in Mexico City. I loved the eye glasses (I am writing this review in clear frames similar to Lee's) and the sartorial elegance of the costuming. I thought Eugene was well designed visually. The early acts of the film are so sumptuous.

I can appreciate a slow burn pop cinema show that might be perfect for pinterest screencaps and music video edits- but this film starts off as that- and then descends into sex and sadness, literature and elements seen in films like 'Happy Together'-I think I was just under a false impression this was going to be a romantic age gap movie and not a psychological drama about pain, addiction and yearning. I thought of the film 'Poor Things' as well, especially visually.

There's something so sad about losing with someone you held in such regard and how they disappear like a phantom, I can resonant with unrequited feelings of affection and the humanity of that hurt- that this film beautifully conveys. I'm not sure what to rate it. In my notes it's 3/5 but I'll leave it without one, as I feel I am still in the process of digesting it.

There's a place for more difficult Queer films, and it's valuable to have easier ones- but shying away (especially in 2025) from the harsh realities and rollbacks in progress, or the decay within aspects of Queer culture would be ignorant. So as much as we can rally for happy endings, we need to be able to sit with tragic ones too.

BITS:

Lee's finger nail is stained with what looks like ink, presumably from his typewriter.

Is Jason Schwartzman in a fat suit? I like seeing him play gay characters his character in 'Asteroid City' fed me, speaking of the use of miniatures and old school and pinterest-perfect production design did remind me of Wes Anderson.

Blue hour transition scene into 'Come as You Are' oh yeah...CINEMA

Was that a real film playing in the theatre?

There's a visual innocence to characters with glasses

Lynchian influence

fuck aloofness let's swim in each other

The yage ayahuasca sequence looked AI generated like the colors and such.

Lee has a nice chest. Also the cum kiss? Oh...wow.

letterboxd.sitesdebloques.org/valleywitch/film/bull-durham/

"I'm not angry, I'm just furious."

Disturbed is what Marilyn Monroe is in this film a truly psychological picture one that in 1952 is pretty thoughtful and generous towards it's mentally ill protagonist. Monroe doesn't ever become horror levels of deranged, but she is a babysitter who has the potential for homicide.

Taking place entirely in a hotel we are treated to window's in different sections of the building- where neighbors can voyeur over other patrons...we have a lounge, different rooms, hallways, elevator sequences. The location never feels stifled, props to Roy Ward Baker's direction.

Getting into Marilyn Monroe's filmography has been a real treat. She is so different here- wild, young and mental. She feels unpolished and fragile, but dangerous... she does so much but the vulnerability and humanity never once leave her. I wonder if she was drawing on real emotions- she doesn't feel "put on." in ways she did in 'Gentlemen Prefer Blondes'.

This was filed in the Playing Against Type list on Criterion. Marilyn Monroe is impressive here, sadly in ways that weren't recognized at the time! It's sad. She's so delicate and timid, and sad here... she's remarkable.

The film is brimming with a slow burn sexuality. The display of Monroe's range hold's the film together. Come for the noir, stay for the showcase of Marilyn Monroe. God rest.

I think Marilyn Monroe's eye acting feels much more at ease when it's sinister versus the caricaturistic dumb blonde "bedroom eyes." I loved how disturbing she was here. I loved the scene of her crying down the hallway. CINEMA! Mama... an actress behind you!

BITS:

I'm glad Anne Bancroft and Monroe had a scene together!

The film is only 1hr16!

Richard Widmark reminds me of Alexander Skarsgard.

"you look like a cooch dancer." ...oh?

Miss Babysitter Nell traumatized the HOUSE outta that little girl.

Elisha Cook Jr. I recognize from 'The Killing', glad my 40s/50s lexicon has grown enough to recognize more actors in these films!

Anne Bancroft! Adorable. I love that her character is a hotel singer.

I love the meeting from the window- as Marilyn dances. Beautiful framing!

I was really impressed with the visuals and style of this film upon initial viewing, it completely fell flat on a rewatch. Though the theme song and cinematography are stellar- the film is flimsy stitched together and offers up very little in it's message or narrative; and I don't believe this was intention as a homage to old Hollywood nor "satire.". While many of De Palma's films are updates on Hitchcock classics, the update here doesn't fully work because of said "satirical" elements...the film feels tedious and after spending the holiday watching many erotic thrillers this one just felt so...bad. I am saddened by this.

Claustrophobia is an interesting thing to explore, and I wish the film was played straight- I think the ridiculous elements stop the film from truly succeeding.

Craig Wasson's Scully comes off like a voyeuristic creep. This was likely the intention, but he's incredibly unlikeable and "blah".

Ugly plants, 80s shopping malls, escalators, pay phones, and water fountains...I think the settling fantastic. One of the things that holds up about the film. The "Rear Window' in Hollywood Hills vibration, obsession and the lurid crime that unfolds.

The garish use of Brownface is just so clownish and weird. I assumed he was supposed to look like the neighbors' handymen or something? Just weird. Did audiences clock it was Sam the whole time? I'm so curious about that. I find the white masculine figure saving the white woman from the scary "Indian" a bad connotation.

Tippi Hedren's daughter Melanie Griffith... it's cool to have a modern take on Hitchcock staring a relative. Not unlike 'Halloween' with 'Psycho.' the 70s and 80s era was all about a good homage to the 50s and 60s. Would Dakota be down to carry on the tradition?

Melanie is the best part of the film, though she's in so little of it. I thinking she was so fabulous in this, but I was disappointed in how small her role is. The film is just SO meandering.

Ti West's horrible third entry to his X franchise took 80% of this, and it's just about as bad as 'Body Double.' even down the X insignia. Yikes. It's weird how two films failed at the concept of an Los Angeles horror so badly. The Leather gloves too. Come ON! The

Though less enjoyable than it's predecessor Urban Legend 2 does the "film set" horror thing better than Maxxxine and Body Double. I fear we haven't fully gotten a great example of the niche just yet. Wait Scream 3 as well!

BITS:
Vivabeat - The House Is Burning. Funky tune.

Wizard of Oz poster!

Definitely could've used some male nudity. So American in it's CMNW gaze.

Blue hour hotel morning. Cool.

The lady is stripping 2 nights in the same clothing?

Phallic drill.

Fun Norma from 'Sunset Blvd' cosplay at the party.

"Have you come to seduce me, or rape me?"
This is such a rich film. It's candle lit hallways, the complex relationship between these women all drowning and trying to survive, the unique camera angles and shooting style...It's truly a remarkable movie. The emotional core is so palpable, and I found myself really bewitched by the ladies' performances. It's lonely at the top isn't it?

Bits:

Blue hour horse ride kyeah!

The dance sequences. Progenitor of 'Poor Things'

Hot chocolate and Blue frosted cake!

Bunnies! Fatal Attraction!

VERY inspired by Barry Lyndon! I see some Dangerous Liaisons as well!

I hadn't known who Joe Alwyn was upon my initial watch in 2019. He's good here!

Beautiful costuming!

Rewatched this, and doesn't fully hold up the second time. Initially watched this many years ago and was very impressed- this was when Black Mirror was still airing it felt like a precursor to that series. Though the film is still quite interesting and cerebral, the script needed a rewrite and a few more polishes. Leigh and Law are on top here and have a fun will-they-won't-they throughout.

The film is littered with some familiar local Canadian talent so that always feels cute to me.

I also like the gnarly practical effects and gross bio/body/ horror and the style of the late 90s y2k video game. The film really feels like one of the games of that time! I enjoyed the way the realities are established. I definitely would re-watch again, as I think there are many valuable things within the film even if it doesn't fully live up to it's premise.

Can Cronenberg make an addendum to this like he did with 'Crimes of the Future' I feel like with AI posing a more dangerous threat- there are parallels to link and explore upon in this narrative of 'eXistenZ'.

BITS:

Oooh blue hour car ride!!

I find Christopher Eccleston's goofy ass very attractive!

Jude Law doing a (something's slipping into his native accent) Canadian accent is so funny.

love the reference to Cronenberg's prior film 'Crash' with the game on the shelf 'Hit by a Car'. HA!

Sarah Polley hey girl!

What a film! I loved the hijinks, and the costume design and the way the women were depicted as contrasts but also complements to each other! I love films that have a primary or star location- the boat setting makes for a cozy little watch. The visuals are incredibly vibrant, shot with three strip Technicolor. So lush!

Jane Russell sounds so modern, no trace of old hollywood accent to be found- I was surprised. She looks lovely in red!!

Marilyn Monroe is hilarious: jumping on the bed, the whole tinkerbell inspired bit? Hilarious. Witnessing in full context the ever-imitated Diamonds sequence was astonishing. (I had similar sentiments when I saw 'Gilda' and Rita Hayworth's lovely musical number!). I think she was laying on the Marilyn schtick quite thick here however.

A fun little film about scrappy women who are good friends to each other. Love that!

Diamonds Bits:

Lorelai Lee calls her man 'Daddy'

'Diamonds Are a Girl's best Friend' reminded me of 'These Boots Are Made for Walking'

The Olympic team in flesh colored swim trunks! Wow.

Love some old school back projection!

"That wasn't barking, that's Swahili."

Getting that man drunk to fool him...they were CITY GIRLS!

I wish they showed the shopping sequence :(

Jane's Marilyn impression! Wow!

Yummy wedding cake!

None of the men in this film deserve these women!!!

What a treat. I love the love letter to Black womanhood and friendship and the way the film referenced not only the personas of the two leading ladies but also the films that influenced this one. Having grown up or recently seen these Black American classics it makes for a refreshingly cozy and escapist viewing. 

Who knew SZA was this funny?? Keke Palmer’s one with such range and it’s so nice to see her in a lighter comedy like this and I really hope people see this because it’s the exact type of reprieve. We need right now. 

It well directed and at an hour and a half is a very short film feeling so in line with the 90s and 2000s canon of films like ‘Friday’ ‘BAPS’ and ‘Deliver Us From Eva’. I’d like to see more from this team of actors and directors/writers!! 

Aziza Scott was so funny!! Looking like Foxy Brown. 

Keyla Monterroso Mejia Was so funny, Janelle James as well! 

Gabrielle Dennis! Love her!! 

All the boys were cute. Lil Rel call me! 

Maude Apatow girl hey!

"you can not find peace by avoiding life."

Awful it is to relate to material like this, but such is life. I think I avoided this film for a bit this week because I read the description and it mentioned AIDS, that illness deeply saddens me and sometimes takes me quite long to move on from seeing it explored. Given the past few days I've been stricken with grief over David Lynch's ing, and strangely this film felt cathartic; I appreciate (even how hammy Ed Harris falling out of the window was) that the film approached HIV gently, and that he is seen kissing Streep, and is bisexual. I think for 2002 that was transgressive.

Nicole Kidman is interesting here, as she seems to be lost in the makeup- and unrecognizable...but her tall stature, eye acting and other ticks are present- it's fun to see when the shades of Kidman come through but it's also a pleasure to see her heavily made up and disappear. The way depression is portrayed her is so real, the way things move and time/reality feels different. The ophelia scene where she ventures into the water, or the scene of her walking through the beautiful garden- oh the film is so pretty and the narrative so well crafted.

The mirroring parallels and symmetry of the different timelines, and foreshadows was done quite well, I found myself predicting that the boy was Ed Harris but I liked that the "death" Woolf prophesizes isn't what we expect.

As great as Catherine Zeta-Jones was in 'Chicago' I think Nicole Kidman (who is in 20 minutes of the film) should've won for ing, and Moore should've been awarded Best Actress, her work in this film is a force, at once quiet, and apprehensive but deeply troubled and still. She deserved. So subtle. The scene at the hotel where she becomes engulfed in water...wow.

Toni Collette blew me out of the water. 1 scene. So much longing, pent up emotion, and unspokeness. I think she should've been recognized as well...in fact, I think she and Moore had the best work in the picture- which says a lot. Gorgeous.

Claire Danes. My girl. The scene she shares with Moore was touching.

After the film finished, I just felt so tired of depression. Tired of being tired, and being afraid. It's not like one chooses to be this way. I think because film is escapism to me, I try not to watch things that upset me too much- but I have found a delicious catharsis in watching movies that are more emotional- I think exposing myself to it can have benefits. When I saw the mental illness depiction in 'Nosferatu' I had a visceral reaction, having night terrors for a week- and being uncomfortable with the confrontation of it's sexually violent imagery and narrative- that metaphor of depression as death tapping on your shoulder. The depiction in this film was quite different- and I think allowed me some necessary time to process grief and depression.

BITS:

John C. Reilly, always a pleasure to see him!

some of those trees in the Moore timeline outside of her house looked like CGI

flower shops, pretty apartment layouts, hot milk cake recipes,

oh hey Margo Martingale- she has the look for period drama.

RIP to all the wasted food the characters throw out, especially the first blue iced cake.

Barton Fink is about a gay little curly haired writer and the crazy gay bear that lives next door. 10/10

In all seriousness, this was such a refreshing watch and is incredibly well crafted. Supremely performed and directed. 

I loved it 1940 settings with cubed glass, funky hotel interiors and disturbing elements under the surface. 

Parallels with Double Indemnity with the Hollywood bowl setting and a character selling insurance. Dope. Love love love when I watch a film that is in a conversation with one I have just watched. 

Judy Davis! 10s. 

Tony Shaloub is delicious. My babygirl. 

Oh my Gosh is that Frasier daddy in this?  Great accent. 

I love nerds. Barton hit me up! 

There’s no heterosexual explanation for the wrestling scene in which John Goodman and John Turturro get… well, down. 

‘Old black Joe’ um…

The semen like fluid under the walls….

Michael Lerner was excellent! 

WHAT’S IN THE BOX!

This film makes less sense on a rewatch initially I was so ruptured with the scene of the Mugler dress and the performance of Demi Moore, but this film is so poorly directed and written. It builds up to the sex scene we never see it. It’s boring and though it’s locations like casinos and diners and yachts are moving and it’s full of enticing, beautiful visuals ( sunsets and beautiful interiors)…The film itself feels very empty. Instead of developing its characters, it relies on exposition and narration instead of well paced story. What a shame because Demi Moore and Woody Harrelson are supremely talented. 

The film doesn’t explain who Demi is and why she decided to go with Robert Redford and it doesn’t even seem interested.

No Ordinary Love scene is an all-timer. Likely the best scene in the film. 

Amy Holden Jones screenwriting- I wish this film did more to develop its characters. It doesn’t even really have any feminist content I’d expect from her. 

Wow…John Barry worked on this. My man from Bond. 

Honey dripping in the scene, I believe with a sandwhich. Lyne perhaps should’ve made movies about food instead of sex because…

Random pre-fame Billy Bob Thornton cameo 

Much more visible Black people in this than prior Lyne films. Interesting. 

The unfunny lawyer character is so unnecessary as comedic relief.
 
The chasing scene was a bit moving.

Movies I loved in 2022♡
Honestly not in particular order, just really enjoyed these pictures!

1. Everything Everywhere All at Once
2. L.A. Confidential
3. The Batman
4. Summer of Sam
5. Once Upon a Time... in Hollywood
6. Spencer
7. Beloved
8. X
9. Pearl

...plus 14 more. View the full list on Letterboxd.