My ★★★★★ review of Furiosa: A Mad Max Saga on @letterboxd: boxd.it/6wQKMF
@meh retweeted
“Your pain is mine. If I laugh at yours, I only laugh at mine.”
— Aeschylus, The Libation Bearers
@meh retweeted
idk is this literally what being in your twenties is supposed to feel like cuz i swear i have zero clue what i’m doing w my life rn everyone seems to be getting their shit together figuring out their careers chasing dreams hitting milestones and here i am just existing and trying
@meh retweeted
I said this just last week and I'm saying it again: Denis Villeneuve rewriting an entire storyline to keep a female character front, central and with an active role and agency was a powerful, unique, move that a lot of male screenwriters should try to keep in mind.
@meh retweeted
Watched “Clayface.” I wasn’t familiar with the character from DC, but I enjoyed the film. I’ve always loved the science fiction films of the 1950s and ’60s, particularly those about lonely men who gradually transform into something monstrous through scientific experiments, accidents, clinical trials, and the like. Richard Matheson’s novel “The Shrinking Man” (1956), and films such as “The Fly” (1958) and “4D Man” (1959). The facial disfigurement also reminded me of “Eyes Without a Face” (1959), “The Face of Another” (1966), and “The Skin I Live In” (2011). As a body horror film, “Clayface” will undoubtedly be compared to “The Fly” (1986) and “The Substance” (2024). But this is the story of a method actor who can become anyone through his performances, only to suffer a disfiguring facial injury and eventually gain the extraordinary ability to physically transform into anyone. Whether you see it as the story of a man who takes his revenge and descends into villainy, or as a tragedy, changes the very face of the film. While I was there, I also picked up a reprint of the original theatrical pamphlet for “The Man Who Stole the Sun.”



































