Now On Patreon: INFERNO (1980) Review

Did you know I have a Patreon that helps support me and my writing? Patrons at the $10 and above levels get exclusive writing. This week they got a review of Dario Argento’s Inferno,which I’ve excerpted below. If you want to read the whole thing, become a patron at www.patreon.com/cinemasangha!

This does contain spoilers for Inferno.

Almost no one in the US has seen Dario Argento’s Inferno on the big screen, and that is a crime. The sequel to Suspiria, one of Argento’s defining films, Inferno fell between the cracks during a studio restructuring and was released straight to video, getting only a short New York City theatrical run. But Inferno is very much a big screen movie, and I don’t just mean that in terms of visuals; the film plays best when it envelops you in its dream logic, when you’re away from your couch and forced to sink into its surreal and sometimes nonsensical moments. Inferno isn’t just a movie with scary scenes, Inferno is a movie that shows us the world as inherently twisted, skewed and frightening, a place that cannot be understood. The horror here is often exquisitely existential.

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ROGUE ONE: A STAR WARS STORY Review

Complete spoilers for ROGUE ONE follow! Be aware I will spoil it all!

It’s been interesting seeing the divide in people’s reactions to ROGUE ONE. I suspect it comes down to how you reacted to the characters; if they worked for you, you truly loved the movie, but if you didn’t gel with them the whole thing fell flat. I don’t have a further theory on this – ie, I don’t really know why some people didn’t like the characters while others, like me, fell for them hard – but it does seem to be dividing line.

Because I loved the characters I found the ending to be doubly impactful. It’s impactful on a simple level everyone has to agree on, which is that we NEVER see the leads die in a blockbuster franchise movie, let alone see ALL the leads die (also this movie blows up every new location, making ROGUE ONE almost impossible to revisit in any meaningful way in future films). That’s a big deal, and it’s a ballsy move for a movie studio that is just as interested in licensing and toys deals as it is with telling stories.

That ending is so important, though, and I believe it’s the ending that we need right now as we face down Trump’s America. Indulge me while I talk about this for a minute.

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