and the following two sequel films are even better!

💙 Meiko Kaji 💙

It certainly tracks. So many gigantic life changes in that span for me

I am listening to Channel Orange again

Cannot believe I am forever emotionally fixated on music from 2011-2015

heck yeah! Happy anniversary!!!

Last time I'm sharing this one. Meet me at THE BONE TEMPLE

I have adopted "may the road rise up to meet your wheels" into my vocabulary since Twin Peaks The Return.

“The film that you are about to see has to do with a better understanding of our fellow man. We have gathered the information as intelligently and as honestly as within our power and potential. And would like to portray to you as intellectually as our medium will permit in the findings of our research.” Dr. Louis C. Pessolano, M.D., introducing She-Man: A Story of Fixation She-Man: A Story of Fixation (1967) has reappeared recently, largely due to the interest of cinephiles, including Danish auteur Nicolas Winding Refn, who helped in its being restored. In 1967, then unknown Canadian director Bob Clark (A Christmas Story and Black Christmas) took on the task of making a B-movie full of famous American female impersonators in the notoriously swampy, humid Florida summer as his feature-film debut.

Reading Corpses, Fools, and Monsters co-authored by @willowcatelyn.bsky.social and stumbled upon this fascinating bit of trivia

The Beavis and Butthead award for Scene of the Year. It's perfect

Did you see her in CLEMENCY? It's a case study in her abilities to go to really deep and complicated and sometimes negative places. It's a showcase for her and she carries the film with her performance.

It's probably Judy Davis or Huppert or Alfre Woodard

This is an extremely niche post but: Baylor Scheierman looks like he makes a living playing H-O-R-S-E on a rigged hoop at a carnival.

My reader's choice essay on MARIE ANTOINETTE should be published on Tuesday.

Willow entering the criterion collection…this is correct.

an image from 28 YEARS LATER: THE BONE TEMPLE of cult leader Sir Lloyd Jimmy gesticulating with this hands as his child droogs lurch behind him. The background is lit up with flaming towers of bone

I probably underrated Danny Boyle’s 28 Years Later when I wrote about it last year. My review was positive, but in the time since, I have frequently thought about its innovative hyper-realistic iPhone cinematography, and its lyrical qualities colliding with its apocalyptic tenor. The image of a narrow, partially submerged passageway linking the island of Lindisfare to the rest of the infected in the U.K. stands as one of the finer political images in all of horror this century in the way it evokes a post-Brexit, pandemic cabin fever of isolationism and degradation of the species. In Boyle’s film, he uses culture, tradition and the new folk mythos of the late 20th century to endow familiar touchstones of modern culture within a transformed and newly medieval context. In 28 Days Later (2002), the world that those characters inhabit—their shops, their music, their clothing, their televisions, their radios—still resemble the reality that viewers were familiar with when they were coming to the film in 2002, but in 28 Years Later, the makeshift communities that remain are only a whisper of what once was. What we see in Boyle’s film bears an eerie resemblance to the predictions of climatologists who have suggested the necessity of us getting to know our neighbours as soon as possible, because smaller hubs of communities with relationships from person-to-person with each individual being responsible for a key task will be necessary for survival. In this respect, Boyle’s zombie film feels prudent, necessary and uncomfortably modern to our latent anxieties of a looming planetary threat. 28 Years Later is in the tradition of George A. Romero’s intelligent zombie pictures that used very straight-forward metaphors to analyze the ills of civilization, while the inevitable doom of each and every character crept closer. But Boyle’s film also differentiated itself with moments of elegy for what might be lost in the midst of all the necrosis, the hatred and the violence....

I caught up with 28 YEARS LATER: THE BONE TEMPLE for my horror column and it is a very fine horror sequel.

www.patreon.com/posts/monste...

The Wacky Wabbit (1942) & Any Bonds Today? (1942) Bob Clampett’s first solo directed Bugs Bunny cartoon opens with a title card: “‘The Wacky Wabbit’ Featuring Bugs Bunny” with Bugs’ name in size equal to the fil…

Throughout 2025 I wrote 10 articles chronicling Bugs Bunny's earliest appearances in Looney Tunes & Merrie Melodies. After a lengthy break I am back with #11. In this one, I look at a pair of WWII-era Bob Clampett cartoons as he tackles the character on his own for the first time.

It's been no fun at all. I guess the silver lining is the Yankees cooled off, but ugh what a terrible start. I keep believing something will snap into place, but everyone keeps getting hurt

it has not worked :(

I cut a Toronto Blue Jays shirt into a crop top this afternoon so if they finally start winning consistently please know that I did my part in shifting the vibe.

Going to make a film about two down on their luck losers having an overnight conversation about the ills & joys of life while inside a Mary Brown's diner. I'm going to call it EDWARD HOPPER MARY BROWN'S & get sued by everybody. I'll argue it's fair use and say hey, they do say they like the chicken

Fuck yeah! Way to go Scout!

A review of 28 Years Later: The Bone Temple (2026) I probably underrated Danny Boyle’s 28 Years Later when I wrote about it last year. My review was positive, but in the time since, I have frequently thought about its innovative hyper-realistic iPhone...

These films are great examples of how to fold necessary political meaning into the pleasurable language of genre filmmaking without the political element swallowing the film whole. In that respect, they're in direct lineage with Romero.

Sample can also be read here:
letterboxd.com/catelyn/film...

an image from 28 YEARS LATER: THE BONE TEMPLE of cult leader Sir Lloyd Jimmy gesticulating with this hands as his child droogs lurch behind him. The background is lit up with flaming towers of bone

I probably underrated Danny Boyle’s 28 Years Later when I wrote about it last year. My review was positive, but in the time since, I have frequently thought about its innovative hyper-realistic iPhone cinematography, and its lyrical qualities colliding with its apocalyptic tenor. The image of a narrow, partially submerged passageway linking the island of Lindisfare to the rest of the infected in the U.K. stands as one of the finer political images in all of horror this century in the way it evokes a post-Brexit, pandemic cabin fever of isolationism and degradation of the species. In Boyle’s film, he uses culture, tradition and the new folk mythos of the late 20th century to endow familiar touchstones of modern culture within a transformed and newly medieval context. In 28 Days Later (2002), the world that those characters inhabit—their shops, their music, their clothing, their televisions, their radios—still resemble the reality that viewers were familiar with when they were coming to the film in 2002, but in 28 Years Later, the makeshift communities that remain are only a whisper of what once was. What we see in Boyle’s film bears an eerie resemblance to the predictions of climatologists who have suggested the necessity of us getting to know our neighbours as soon as possible, because smaller hubs of communities with relationships from person-to-person with each individual being responsible for a key task will be necessary for survival. In this respect, Boyle’s zombie film feels prudent, necessary and uncomfortably modern to our latent anxieties of a looming planetary threat. 28 Years Later is in the tradition of George A. Romero’s intelligent zombie pictures that used very straight-forward metaphors to analyze the ills of civilization, while the inevitable doom of each and every character crept closer. But Boyle’s film also differentiated itself with moments of elegy for what might be lost in the midst of all the necrosis, the hatred and the violence....

I caught up with 28 YEARS LATER: THE BONE TEMPLE for my horror column and it is a very fine horror sequel.

www.patreon.com/posts/monste...

Thank you!!!!

New Bugs Bunny essay coming very soon. My first one for 2026. I didn't mean to take such a long break. It's on the first Bob Clampett-solo directed Bugs cartoons.

Thank you Neil!!!! Hope you love the release!

I celebrated my Criterion news by having Beef Brisket Pho at the authentic Vietnamese restaurant in my town. It was an extremely good decision.

Don't want to clog up anyone's feed responding to every reply expressing excitement about the release so I'll just say thank you here. It means so much to me that y'all have supported me so much over the years. Thank you so much. Love y'all <3333

thank you!! Glad you liked GENDER TROUBLEMAKERS!