Ace degenerate.
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We Kill for Love 2023
An epic sweat-sheened and neon-hummed and cocaine-decored exploration of Why We Like To Watch. A monolithic (but essential and breathless and deeply horny) three hours, it's like the LOS ANGELES PLAYS ITSELF of fuck-noir, in which erotic thriller creatives and film scholars and general perverts come together to trace an arc from films noir to thrillers erotic, and celebrating/interrogating everything in between.
(Full disclosure, I’m in this thing, talking about noir and De Palma and BASIC INSTINCT and stuff)
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Cure 1997
Men would rather enmesh themselves in a billowy-trench-coat-detective-vs-serial-killer-procedural that doubles as a dream-logic’d epistemological study of the knife’s edge between meaning and meaninglessness in a repressive society in which nerve-spasmed animal violence lurks beneath the surface of every synapse than go to therapy.
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Cold in July 2014
Moody East Texas pulp noir that gearshifts with every act change from BLOOD SIMPLE-styled small stakes crime nightmare to LONE STAR-esque neo-Western mystery to a third act that descends into a neon-blooded (and bloody neon) gunsmoked spatterscape equal parts ROLLING THUNDER and John Carpenter.
A film that can’t match the power of any of its loudly-proclaimed influences (all of which are blood-stained onto the film’s sleeves rather than simply worn), but its wrestling match with responsibility and consequences and generational horror lingers long, all the same.
“It’s Howdy Doody time.”
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The Hot Spot 1990
A series of excepts from THE HOT SPOT’s closed captioning:
(woman moans)
(moaning)
(moaning intensifies)
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Rebel Ridge 2024
“I have a feelin tonight’s gonna get pretty dark.”
“Isn’t that what nights do?”
Saulnier’s first blood and last stand. See it with a crowd if you can.
