* Killer Klowns From Outer Space (Chiodo, 1988)|||||4
Make Way For Tomorrow (McCarey, 1937)|||||8.5
<--- Blubbering fool.
Southern Comfort (Hill, 1981)|||||7
Showgirls (Verhoeven, 1995)|||||8
Alice in Wonderland (Burton, 2010)|||||3.5
* The Beyond (Fulci, 1981)|||||5
* Deep Red (Argento, 1975)|||||7.5
* Lost in Translation (Coppola, 2003)|||||6
* Tobe Hooper's Night Terrors (Hooper, 1993)|||||6
* Tokyo Sonata (Kurosawa, 2009)|||||7.5
* Habit (Fessenden, 1997)|||||8.5
* Wendigo (Fessenden, 2000)|||||8.5
In the Cut (Campion, 2003)|||||7
The lurid serial killer story is really ho-hum, sub-mass market paperback material, and is dislodged from the character study working through it. The film is too soaked in imagery, and the hyper-dreaminess taken on for the climax only works to take us completely out of the mind and will of our protagonist. Nevertheless, if there's anything I uniformly love about Campion's films, it's that her female protagonists are meticulously written and thought out as to be so indistinguishable from men.
Tourist Trap (Schmoeller, 1979)|||||4.5Quills (Kaufman, 2000)|||||5.5
* Day of the Dead (Romero, 1985)|||||8.5
* Monkey Shines (Romero, 1988)|||||5.5
Monkey Shines is an intriguing and risky film, with odd, perverse psychology being rooted at and a knowing cheekiness in support of that (Fernando Croce: it's a film "expressed in satirical Hitchcockisms"), but ultimately, I don't think it's too successful. It's a little stiff, a little dry, and that psychological study is a little simplistic sometimes.
* Land of the Dead (Romero, 2005)|||||5.5* Battle Royale (Fukasaku, 2000)||||88.5
The Princess and the Frog (Clements & Musker, 2009)|||||5.5
