
daily scream: meta horror about how scary movies infect us
2021’s Censor on Kanopy in the US, 4 in the UK (and lots of other services, too).

2021’s Censor on Kanopy in the US, 4 in the UK (and lots of other services, too).

A pall of dread, of terrible suspense, hangs over this powerfully empathetic drama about what it means to be a Black man navigating a racist world. Beautifully performed and structurally intriguing.

More of the same old religious-horror hoohah, plus Russell Crowe hamming it up, complete with terrible Italian accent. Its only twist on the usual exorcist-movie nonsense is genuinely pretty appalling.

A powerful, necessary film, deeply humane and sympathetic, ugly-beautiful in its panic, full of dread and bad behavior. We feel every iota of Jean’s anxiety at closeted life in the homophobic 1980s.

A portrait of Diana’s depiction in the press that is incendiary, incisive, and transfixing. A litany of horror, in retrospect, and an incredibly valuable look at how public stories are shaped by media.

Plus a lovable English crank and a put-upon Texan mom. (First published June 18th, 2022, on Substack and Patreon.)

One of the most beautiful movies I’ve ever seen. It is impossibly small, and emotionally immense, full of the most bittersweet of pathos that the coming-of-age genre offers. A treasure, and a gift.

Plus a subtle dystopia and a subtle nervous breakdown. (First published April 22nd, 2022, on Substack and Patreon.)

Cold War propaganda that is weirdly apolitical. Sunny, breezy homoeroticism that is surely unintentional. What a hoot this is! Mostly not in a good way, but its impact on pop culture cannot be denied.

Mine is probably Ferris Bueller’s Day Off, the ultimate spring fever movie.