A multi-decade existence split between the coastal cities of Los Angeles and Boston, writer-teacher-designer-basketball player-film historian-cat lady Jason Carpenter has invested heavily in what a life in cinema and media affords, principally a sensibility that lies on the spectrum exactly halfway between Sherlock, Jr. and Texas Chainsaw Massacre, which some have come to note as being thirteen minutes into Godzilla vs. Hedorah the Smog Monster. Need academic evidence of Carpenter’s worth to the film world? You’re that person? Behold: a master’s in film studies and contributions to Bright Lights Film Journal,ArtsEditor.com, FunnyorDie.com, and the Jason Reitman film gulp.
The demon-summoning, LED laser-lens flares, medieval weaponry-fetishizing, churning synth and axe rhythms, and the overall simmer of curdling darkness are collective flickers of a recurrent, suffocatingly inescapable nightmare, one fueled[…]
The Brothers don’t enter into sanctimonious class systems, organizational institutions, or drawing rooms to assimilate and enjoy the fruits of its privileges either; they gain access, enact a savage modus[…]
Within his mise-en-scène and competing thematic fronts, Wilder makes a case that true partnership – born of respect, admiration, and genuine affection – finds actual sex dispensable or, simply, fleeting.[…]