“We ran away together and I’ll always love you”
Two girls on the run set the world on fire and wade through a pastoral glistening dreamworld, slowly crossing paths with a dying nightmare. There is something so powerfully evocative conveyed in the imagery and narrative silence(mostly) of the first half of this film to me; verging on hypnotic. We don’t know why they are dressed as clowns, we don’t know who they are to each other, we don’t know why…
Lisa, Lisa, Lisa, Lisa!
A Polselli joint on a bedroom demo tapes wavelength; splendid b-side to Black Magic Rites. That being said, I really wish there was a better quality version of this available & hopefully there will be one divine day.
Kicks off mid lightning cocaine speedball hystrionics with zero context(does the man know any other way?) in one of the most swerving mad roadtrips that is 110% “do not try this at home, you will be dead—why aren’t they dead?!?”…
I quite enjoyed this chocolatey slab of folk horror that hilariously reminded of a certain episode of Are You Afraid of the Dark. Tight medium close-ups and smatterings of shots that harness an angular discomfort create an unsettling atmosphere that creeeps in. Script-wise, a cynical take on an eternity spent preying on lonely hearts that is chilling and darkly humourous—albeit not entirely original and sometimes quite predictable. Not my fave cabin in the woods flick but a fun time. Oh yeah and of course, Tatiana Maslany slays as per usual.
“Do you want a good time or oblivion?”
Elevated 60s art sleaze shot and framed stunningly in lush black and white. Far more tame and narratively coherent than I had anticipated which gives it a leg up on its contemporaries. Swanky LA decor that *almost* proves to be a worthy rival to Doris Wishman’s fab apartment sets. A couple jetsets into the fast lane of degeneracy. Mad Men era male antics exposed and called out, a strong female lead performance…
The first hour and a bit glides along with a frenetic light breeziness flourished with dark comedic sprinkles; almost swimming against the current as an antithesis to Good Times. The impeccable period setting and anchronistic music choices appeal to me— there’s something about the cultural game of connecting the dots between 50s nostaglia being alive and well in the 80s and turning it askew that I very much dig.
Somewhere after that 95 min mark, this solo Safdie joint loses…
When Paul Lazenby, all-around rad dude & awesome Video Cat regular, recommends that you watch this classic slice of 70s cinema when you admit to having never seen it, you watch it asap. I dig; nice to finally cross it off the ol’ list of mainstream blindspots.
Summer’s over, you’re the mayor of shark city… so great to finally hear that score along with all these iconic one-liners in context. Roy S. rips badass style and Dreyfuss’ performance is screamin’ hot…
