I am at all times a deeply serious individual. Expertise include day-glo lime and semiology of the eructation.
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1983
Verhoeven directs with his usual restraint (i.e. zero) the tale of a self-regarding, too-clever for his own good writer, taking in Catholicism, sexi-time hijinks and at least 15% too much castration anxiety. Affably bonkers and highly recommended for aficionados of unconstrained Freudianism (what are those spiders all about, nudge nudge wink wink)
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1983
Verhoeven directs with his usual restraint (i.e. zero) the tale of a self-regarding, too-clever for his own good writer, taking in Catholicism, sexi-time hijinks and at least 15% too much castration anxiety. Affably bonkers and highly recommended for aficionados of unconstrained Freudianism (what are those spiders all about, nudge nudge wink wink)
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2006
A little bit bemused by the high aggregate rating for this one. Although in of cinematography and camera movement it is strong, these technical strengths didn't seem to me to mesh with the narrative, which was fairly meh and largely predictable, despite its blending of genre codes (noirish police procedural, J-Horror staple of a vengeful revenant). The composite effects teeter at times on the fine line between disturbing and risible.
At the very end, an excellent pair of disturbing…
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1984
Loved:
- Sybil Danning in her microkini leaning against the freshly 'varnished' railing of her yacht. That wood should have been wet or at least sticky. You can add your own punchline here.
- The random slasher-dressed-up-as-Santa murder.
- The series of Shakespeare murals shown in the college backdrop. Bonus points for correct id of each play is a fun game to play during those brief interludes between boobs and murders.
- The very hip theme song, used sparingly. Nah just kidding, they play it about 15,000 times.
- That one 'college' student who is older than your oldest uncle.
Not to be missed.
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2006
A little bit bemused by the high aggregate rating for this one. Although in of cinematography and camera movement it is strong, these technical strengths didn't seem to me to mesh with the narrative, which was fairly meh and largely predictable, despite its blending of genre codes (noirish police procedural, J-Horror staple of a vengeful revenant). The composite effects teeter at times on the fine line between disturbing and risible.
At the very end, an excellent pair of disturbing…
Translated from by
1984
Loved:
- Sybil Danning in her microkini leaning against the freshly 'varnished' railing of her yacht. That wood should have been wet or at least sticky. You can add your own punchline here.
- The random slasher-dressed-up-as-Santa murder.
- The series of Shakespeare murals shown in the college backdrop. Bonus points for correct id of each play is a fun game to play during those brief interludes between boobs and murders.
- The very hip theme song, used sparingly. Nah just kidding, they play it about 15,000 times.
- That one 'college' student who is older than your oldest uncle.
Not to be missed.
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2025
Liked Watched
Sliding effortlessly into the top ten of the franchise, this miracle of overengineered exposition climaxes with Ethan Hunt's greatest challenge yet: surviving Ralph Wiggum's haircut at 1,000 feet.
Highly commendable cinematic bombast, plus I didn't have to explain anything to my kids, because the screenwriters repeated plot exposition every 15 minutes 👍
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1946
An unusual and not wholly satisfying noir: somewhat janky plotting and rather stolid direction. The dialog is the best part of the Raymond Chandler screenplay, chippy and bad tempered and stylised.
And Alan Ladd takes off his hat a lot in this film; thankfully by the end, it seems he's almost mastered the move.
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2025
Liked Watched
Sliding effortlessly into the top ten of the franchise, this miracle of overengineered exposition climaxes with Ethan Hunt's greatest challenge yet: surviving Ralph Wiggum's haircut at 1,000 feet.
Highly commendable cinematic bombast, plus I didn't have to explain anything to my kids, because the screenwriters repeated plot exposition every 15 minutes 👍
Translated from by
1946
An unusual and not wholly satisfying noir: somewhat janky plotting and rather stolid direction. The dialog is the best part of the Raymond Chandler screenplay, chippy and bad tempered and stylised.
And Alan Ladd takes off his hat a lot in this film; thankfully by the end, it seems he's almost mastered the move.
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