Tokyo Ghoul: Visceral Queerness and Radical Vampirism
On anime, vampires, and the physicality of transgressive queerness (except, maybe, not).
On anime, vampires, and the physicality of transgressive queerness (except, maybe, not).
In a belated effort to tap into the success of his hit TV show The Office, Ricky Gervais risks unflattering comparisons with his washed up titular character.
There’s no particular reason why this generic German crime/romance-thriller needs to be executed in a single take, aside from it making good marketing copy. It sure doesn’t make for a good movie.
The Shallows has a simple task: make sharks scary again. And it succeeds admirably, while offering (perhaps unintentionally) interesting commentary on sexualised heroines in horror movies.
Pablo Larrain’s unconventional, dizzying portrait of Pablo Neruda is reminiscent of Luis Buñuel; that’s gotta be a good thing.
If you can stomach Sausage Party’s dire string of lazy racial caricatures and innuendo for an hour, the final sausage in the chain is pretty tasty.
Louder than Bombs is an unconventional, masculine melodrama. It’s a melodrama in the sense that it revolves around familial conflict, domestic secrets and intense emotions; masculine in the sense that it’s reserved, quiet and inarticulate.
An underwhelming Aussie thriller that collapses under the weight of its own twists. At least it looks nice.
Suicide Squad is a feature length trailer. It’s structured like a videogame and plotted like a D&D campaign where everyone’s roleplaying chaotic evil. Anyway, I kinda liked it.
Absolutely Fabulous: The Movie offers fans another crazy, glamorous adventure with characters that are as colourful as the film itself. Laughs, cameos and questionable life choices galore – welcome back Sweetie Darlings!