• Women in Love

    Women in Love

    but where was Eleanor Bron's oscar for this????

  • Mahogany


    Delightfully inexplicable. It is as entertaining to watch Diana Ross so gamely lean into her characters’ often baffling behavior with mischievous glee as it is to watch Anthony Perkins fail so thoroughly at performing masculinity. A mess, and thank God for it.

  • Sebastiane


    Christian, classical, and mythological markers elegantly and boldly converge in this salacious, formally dazzling queering of history and folklore.

  • Without You I'm Nothing

    Without You I'm Nothing

    Deceptively cinematic and deliberately challenging, Bernhard’s gonzo caricature of appropriation of black culture (there are other concerns, but this is undoubtedly front and center) brushes up against the line of bad taste often, and crosses over into misguided at best, problematic at worst territory from time to time, but achieves its desired effect nonetheless. Admirably subversive, intriguingly self-deprecating, and relentlessly hilarious. High camp.

  • Who's Afraid of Virginia Woolf?

    Who's Afraid of Virginia Woolf?

    Could not have possibly anticipated how deranged this movie turns out to be.

  • MURDER and murder

    MURDER and murder

    Messily complex, pushing against the constraints of traditional narrative structure to craft a probing examination of lesbian relationships, post-menopausal womanhood, and the scourge of breast cancer with DIY verve.

  • Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean

    Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean

    Misunderstands so much about being trans, but nonetheless still feels like a holy queer text, with its complicated, unabashedly sympathetic portrayal of trans womanhood and its explosive collision of three of queer cinephiles’ most revered (and stylistically disparate) actressing idols. Altman’s delicate choreography keeps this chamber piece immersive, at times deliriously so.

  • Rebecca


    Hitchcock masterfully ratchets up the tension and the dread, but the movie is far too eager to let Maxim off the hook. Mrs. Danvers did nothing wrong.

  • Multiple Maniacs

    Multiple Maniacs


    Or, the second enlightenment. Boldly questions each and every core tenet of propriety and decency in American culture with unabashed zeal. That its transgressions still feel so vitally challenging over a half-century after its release is a testament to the ubiquity and longevity of those repressive attitudes that the film so hilariously and tastelessly confronts.

  • Carnival of Souls

    Carnival of Souls

    The Lynch prototype- wonderfully hallucinatory, sonically immersive, stilted, but compellingly so. Difficult to shake.

  • Double Indemnity

    Double Indemnity

    This would be such a thorough de-wigging if Fred MacMurray could act.

  • The Flintstones

    The Flintstones

    The cardiac arrest I went into when I realized Elizabeth Taylor was in this…