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  • The Boondock Saints II: All Saints Day

    The Boondock Saints II: All Saints Day


    Dir. Troy Duffy. 2009. R. 87mins. Sean Patrick Flanery, Norman Reedus, Julie Benz.

    The MacManus boys, Connor (Flanery) and Murphy (Reedus), return to “order some whup-ass fajitas!,” as their bug-eyed sidekick, Romeo (Clifton Collins Jr.), would say. No doubt this one’s for the fans, that reportedly massive cult that made the notoriously troubled first Boondock Saints into a record-smashing home-video rental. Writer-director Troy Duffy rewards their patronage with this palimpsest of drunk-’n’-drooling straight-male bromides: schoolyard taunts about being queer; leering close-ups…

  • Taste of Fear

    Taste of Fear


    Dir. Douglas Hickox. 1973. N/R. 104mins. Vincent Price, Diana Rigg, Ian Hendry.


    Dir. Seth Holt. 1961. N/R. 81mins. Susan Strasberg, Ronald Lewis, Ann Todd, Christopher Lee.

    Film Forum’s self-proclaimed “Gruesome Twosome” double feature should give fright seekers and gorehounds plenty of bloody mutton to chew on. Theater of Blood is the more sanguine offering, featuring a wonderfully hammy Vincent Price as British thespian Edward Lionheart, who plots grisly revenge against his reviewers.

    The trick is that he murders his victims…

Popular reviews

  • Jojo Rabbit

    Jojo Rabbit

    [Published September 9th, 2019, Slant Magazine]


    Waititi prefers to treat his audience like drooling cretins who need their hands held through every shift in tone, reassured that everything, even in a world off its axis, is going to work out. It doesn’t help that this misguided production is utterly devoid of laughs, though I admit to cracking a desperate smile when the nitwit Nazi played by Sam Rockwell demands that an underling bring him German shepherds, as in the dogs, and is instead delivered shepherds who are German. It’s a flash of punny bliss in what’s otherwise Marvel Presents Mein Kampf.



  • Nomadland


    [Published as part of New Pollution #2]

    The irritatingly genteel Nomadland, adapted from a nonfiction book by Jessica Bruder, appears well on its way to golden statuettes and other year-end plaudits. For writer-director-editor Chloé Zhao this is the last stop before the Marvel Moloch grinds her personal stamp, such as it is, to a pre-viz’d pulp with The Eternals. I didn’t much care for the mannered neo-realism of The Rider, but at least it could fall back on the authenticity…