Bones And All (2022) - Movie Review

Luca Guadagnino has a habit of changing my entire fucking worldview with each new film of his I watch and review. Call Me By Your Name, in the years since I first looked at, has become a rather important moment in my personal history as a Queer person, and I genuinely think I wouldn’t be in my current relationship had I not watched it (just one of many experiences that make me love this job). Suspiria, along with being that rare remake that (in my opinion) eclipses the original, is a fascinating example of filmmaking as actual witchcraft, a perspective that I’ve since added to my frequently flowery ideas about the potential of cinema. Whatever he has lined up next has big shoes to fill, clearly, but he has once again delivered an absolute winner.

Pet Sematary (2019) - Movie Review

While it didn’t get a lot of love back in the day (and judging by reactions to today’s film, that feeling persists), Mary Lambert’s Pet Sematary is a fucking great horror flick and one of the better Stephen King adaptations. Having King himself penning the screenplay certainly helped, but as a look at how people react to grief and why it is vitally important to come to terms with that grief, it is a seriously intense ride, if an occasionally goofy one.

I’d argue the point in remaking the story in the first place, but considering the recent crop of King adaptations and their combined consistency, I’m not entirely against the idea. Hell, this one has an uncredited David Kajganich working on the script, and given how well he did with last year’s remake of Suspiria, this could turn out good. However, as I’m about to get into, this film ends up being a mish-mash of underperforming, overperforming and just outweirding the original and not all in good ways.

Suspiria (2018) - Movie Review

Fresh off of the phenomenal Call Me By Your Name, director Luca Guadagnino’s latest is a serious left-hook: A remake of a classic Italian horror flick that, as I’ve gotten into in past reviews, has proven itself quite influential in the weirder realms of cinema. Since this is far more of a re-imagining of the original than a straight-up recreation of it, direct comparisons to that film are honestly a bit misleading. However, let’s get the more immediate basics out of the way: No, this version doesn’t have the same iconic Argento colour palette to it, and Thom Yorke’s soundtrack doesn’t hold a candle to the skin-crawling work of Goblin. So, is there anything that this manages to do better? Well, aside from those two, pretty much everything.