• Ju-on: Origins (2020) (Review)

    I’m a big fan of Japanese horror – I’ve watched many of the classics of this genre, and I enjoy additing to my collection every now and again. I didn’t watch the original Ju-on films, which were made in […]

    Aug 6, 2020
    Julian A. Leu
  • Bloodride (2020) (Review)

    Story anthologies seem to work very well – they have done so in the past, and continue to do so. Usually, it’s because they don’t require much time to get into, and won’t need to watch or read a […]

    Jul 4, 2020
    Julian A. Leu
  • The New Pope (2020) (Review)

    The Bible and the iPhone “The Bible doesn’t have to be like an iPhone”, because that means it could be removed at any time by an upgraded version. Thus, the relationship with the scripture, which must keep its original formula, becomes […]

    Jun 17, 2020
    Andrei C. Serban
  • Into the Night (2020) (Review)

    European TV shows are usually much more grounded and tame than their North American counterparts, which often revel in doomsday scenarios and, much too often, saving the world opportunities. The latter also usually have a clear distinction between the […]

    Jun 3, 2020
    Julian A. Leu
  • The Lighthouse (2019) (Review)

    A few years ago, The Witch became a reference point in my very short list of horror films I really, really like – which is short not because I don’t watch a lot of horror movies, but because so […]

    Jan 18, 2020
    Julian A. Leu
  • Parasite (2019) (Review)

    I’ve often reiterated the idea that Cannes Film Festival is much more appreciative of true filmmaking quality than the mainstream film awards, or at a very minumum than the Academy Awards. I am curious to see, based on the […]

    Nov 11, 2019
    Julian A. Leu