The sci-fi of ‘Moon’ is philosophical, humane, rigorous, and austere, and I adore the robot’s hopeful emoticon expressions; that feels right
‘Anvil!’ merely repeats Spinal Tap’s satire and has too much Lips and too little Robb, but the duo’s determination is touching and truly sad
Creepy but generic, an otherwise austere ‘Paranormal Activity’ would have unsettled more sans the extra-diegetic rumble conditioning viewers
I love the elegant subversion of history in ‘Inglourious Basterds,’ how the Basterds themselves are MacGuffins, and QT’s endless patience.
With the broad rubbing hornily against the observant, the clear-eyed ‘Adventureland’ views an awkward age with fondness and well-aged shame.
It’s messy and too telegraphed, but ‘Thirst’ employs vampirism probingly, is anchored by two great performances, and is disgustingly funny.
Primally repulsive and sad, ‘Grace’ is an honest, thorough metaphor for early motherhood, and clever and light with its icky cryptic horrors
‘Drag Me to Hell’ has expert touches (the handkerchief/car bit) but Raimi mostly revels in fun, repulsive, throwaway visual/aural aggression
Stripping the vampire flick of baroque affectations, del Toro’s ‘Cronos’ is simple but rich, concerned with addiction, corruption, and aging
‘Duplicity’ revels in triviality. Corporate intrigue in movies is serious business, but here everything is light, and romance fits right in.
