Category Archives: movie reviews

WHO SAW HER DIE? (Aldo Lado, 1972)

“The early 1970s brought us two thrillers with all of the following elements: an estranged couple mourning the tragic death of a daughter; a grief-stricken sex scene crosscut with glimpses of its doleful aftermath; a series of murders occurring against … Continue reading

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In Memoriam Rutger Hauer: FLESH AND BLOOD (Paul Verhoeven, 1985)

Flesh and Blood is styled on screen as Flesh + Blood, as though writer-director Paul Verhoeven were consciously working out an algorithm to account for his filmmaking sensibilities. By all accounts, this should have been the filmmaker’s Vera Cruz: a down-and-dirty medieval romp … Continue reading

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Godzilla (Ishirō Honda, 1954)

“History shows again and again,” writes that unsung modern philosopher Buck Dharma, “how nature points up the folly of men.” Meaning, for those unfamiliar with Blue Öyster Cult’s 1979 monster hit, one Godzilla, 20-story-tall king of the monsters, and the … Continue reading

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SCREEM #37

Thrilled to announce I’ll have a handful of home video reviews in the upcoming edition of SCREEM Magazine. Available online at the link provided, and coming soon to a newsstand near you!

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Golden Year: BOY (Nagisha Oshima, 1969)

Nagisa Oshima’s Boy has the “ripped from the headlines” appeal of a timely social-problem film, recounting three months in the life of a struggling family (disabled veteran father, young stepmother, two children) that looks to get ahead by faking car accidents and … Continue reading

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Golden Year: EROS + MASSACRE (Kiju Yoshida, 1969)

Widely considered Yoshida’s masterpiece, Eros + Massacre brings an epic scale to its intimate portrayal of Sakae Osugi (Toshiyuki Hosokawa), a free-love-espousing anarchist who, along with his lover, Noe Ito (Mariko Okada), was murdered by a right-wing militarist faction within the Japanese … Continue reading

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Golden Year: WOMEN IN LOVE (Ken Russell, 1969)

Ken Russell’s Women In Love is one of those exceedingly rare film adaptations of a vaunted literary work that successfully manages to fuse fidelity to the source material with its director’s distinctive visual style. Larry Kramer’s screenplay lifts virtually all of its … Continue reading

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