(2018) Hereditary

This was the first film I’ve seen where the hype and chatter surrounding tripped me up and absolutely effected the way I perceived it.

Much like an NBA All-Star basketball game, Ari Astor utilizes all the best aspects of recent and less-recent horror success films to craft his summer blockbuster. This film reminded me of The ConjuringA Dark Song and Donnie Darko. It works on almost every single level. It’s not just a showcase of entertainment but also incredibly detailed; speckled with foreshadowing, dynamic character relationships, twists and style.

The problem I had was that none of it felt original. I felt like I was being served up an amalgam of other director’s successes. That’s the thing though, the films you love dearly are often not the ones universally praised. It’s not even a hipster thing but we’re simply creatures who take pleasure in self-discovery. Something is always more powerful when it feel like it means something specific to you, rather than an exaggerated universal terror, iterated through every fucking headline in america.

It’s still really good though.



(2004) The Card Player

Straight up, literally can’t tell if this shit is dubbed originally or not. There’s definitely some american actors and yeah, I don’t know what’s going on.

It’s easily the worst Argento film I’ve ever seen, by a mile. It’s not only a poorly made film on a technical level but it’s painfully uninteresting.

There’s some seriously great shots though and they only seem to make it more disappointing.

It’s like glitter in shit.


(1977) The Psychic

I think think that Psychic is too full of clichés and stripped of a lot of the more colorful aspects of giallo filmmaking, both in the literal and abstract sense.

There’s definitely a lot I loved about it and oddly enough I think the story itself is the strong suit, which is never the case.

I’m not going to say it’s overrated, I do think it’s an important watch if you’re churning through Fulci’s collection. However, it absolutely is not his best.


(1969) One on Top of the Other


This movie is pure style man and I see a ton of Hitchcock influence in the camerawork. I mean, just look at the scene with the contacts washing away down the drain.

Unlike Hitchcock though, there’s no restraint in the film’s sexual nature. Marisa Mell and Elsa Martinelli are both incredibly sexy, even when they’re not trying to be. It took some clever framing but both just really popped as an on screen presence.

Beyond that though, it’s just a solid Fulci giallo. It unfortunately contains one of the dumbest exposition scenes but that’s really just par the course for giallo films in general.


(2017) You Were Never Really Here

This is one of the more special films I’ve watched in a while and one that really left me with a general feeling of unease. It’s kind of a slow-burn, partially minimalistic but the edits during the violent sequences are done in a way that has a heart palpitation level realness.

The editing techniques are really so interesting to me because they have almost replaced traditional jump scares in their sense of urgency. For those who feel like jump-scares in general have become a little passé, I highly encourage you to really check out films that utilize this and really hone in on that style. A couple examples are I Saw the Devil and (the remake) The Town that Dreaded Sundown.

This film is ridiculously bleak though and not just tonally or stylistically. The heart and soul of this film is just emptiness and the inescapable darkness that surrounds such heinous, irreparable acts.

Joaquin Pheonix is one of the best actors of his generation and someone that I believe has transcended all our expectations.


(1954) Rear Window

This film just feels like Hitchcock flexing. He knows how to make the perfect theatrical experience in technicolor with all the hottest starts.

It’s honestly just a dope murder mystery and has some surprisingly insightful dialogue to boot.

Oh an the girl at the beginning bending over is literally *foams at the mouth* …I can’t even do this right now.


(1960) Psycho

This film is close to perfection and instead of regurgitating everything that so many have talked about before, I just want to talk about one scene. I’m going to attempt not to spoil anything.

There’s a scene where Norman Bates first shows real nervousness. The actor playing him, Anthony Perkins, puts on probably the most believable performance here that I’ve ever seen. It really gave me chills.

If you haven’t seen this before, it just might be the first and greatest execution of a theatrical misdirection. I think if Hitchcock could hear horror fans complaining about marketing misdirections such as with It Comes at Night, he’d be rolling in his grave.