Homocula begins by establishing, first, that Dracula is real and lives in the Shetland Islands, and that Homoculas are a unique type of gay Dracula that drink cum instead of blood.
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On Saturday, February 21st, local tastemaker James McDonald held his annual Butt-Numb-A-Thon, an event in which he assembles a marathon of truly deranged movies at his home with an open door policy and “anyone is welcome” mentality. For this, the 10th iteration, James rented out the Hyperreal Clubhouse for a slightly more official-feeling film fest. The movies were still deranged.
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Following the Mormon musical Saturday’s Warrior, James programmed the 1978 made-for-TV 40 minute musical aptly titled Junior High School — a movie perhaps only notable for featuring a small appearance by American Idol host Paula Abdul.
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The Ultimate Masturbation opens with a beautiful, serene forest and meadowy hills. Five men climb to the top of the hill, drop their trousers, and begin masturbating.
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Have you ever wondered if Santa Claus could beat Lucifer in an ultimate battle of good and evil? If yes, do I have the movie for you!
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The new film adaptation of Emily Henry’s People We Meet On Vacation asks a question that seems quite simple at first, but carries a gravity that we ultimately cannot help being pulled in by: “What does it mean to truly come home?”
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What needs to be abolished in these adaptations is the childlike depiction of the golden retrievers, rather than the intimacy that makes the books so beloved.
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Jon Bois' documentaries often come close to scratching that itch for me. Through the use of charts, graphs, Google Earth satellite imagery, newspaper clippings, and the very occasional photo or brief footage, Bois and his collaborators stitch disparate lives into a grand narrative that means so much more than it seems.
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KPop Demon Hunters is most incredible in its unabashed humanism.
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Verhoeven trusts us to take in an onslaught of religious parallels and florid symbolism and come to our own conclusions on what it all means—if anything.
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In times of recent social unrest, films from the L.A. Rebellion movement provide a reflection on how other American regions in other times creatively react to such intensity. Anger will always interrupt a peaceful environment. Instead, communities that break bread rise together and communities that reconcile will endure.
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Sentimental Value, apart from the heartwrenching family dynamics of grief and trauma on display, reads like a love letter to cinema — but by the time the credits roll, we realize it’s actually a eulogy.
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The Name of the Rose’s status as an arthouse mystery remains firmly intact. Annaud’s masterful direction of the medieval atmosphere and its commanding performances are central to its legacy.
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In Father Mother Sister Brother, the first film from Jim Jarmusch in over six years, Jarmusch explores this world of, as Tom Waits puts it, “family relations” and how the secrets we keep to ourselves have the power to shape an entire family’s identity as much so as the things we reveal.
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“Wuthering Heights” includes plenty of bodice-ripping romance on the foggy moors, but its overall affect resembles Sofia Coppola’s Marie Antoinette curdled into a horny, death-haunted nightmare.
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he Moment gives an inside look into what goes on while an artist is trying to figure themselves out under massive scrutiny.
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At its heart, Shelter is a tale of an older man protecting a young girl, and that connection shines.
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Movies are often described as having dream logic or otherwise being dreamlike, and this truly feels like a dream.
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Who Killed Teddy Bear? is a seemingly salacious examination of human perversity, but there is room here for something more nuanced, thanks to performances that elevate the material.
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The Apple is a campy, blast from the past, borderline hippie propaganda mess that I couldn’t look away from and a not-so-genius product of its time.
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