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28 Weeks Later 2007
Its opening sequence is up there with the new Dawn of the Dead and its loyalty to the freaky hyper-violent speed of the original film keeps pumping fresh panic across the screen. The story is very improbable, and I think if you notice that you didn’t have the volume up high enough. As a viewing experience, it feels like a wet body hitting you at full speed from an angle you didn’t expect, and as a series of images it really does look like something standing watching you with red hate in its eyes.
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28 Days Later 2002
One of the movies I saw as some kind of comet screaming across the sky. It’s so kinetic and confrontational and pretty, so easily parsed as a story by laypeople, just a really spirited and vicious apocalypse flick. And a silly little fantasy by the bye. Would you not be able to turn on the radio and hear France, Spain, Germany, and Norway? Kind of makes the whole third act of the soldiers coming unglued from a four week stint…
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Mulholland Drive 2001
If you were a kid who grew up staying up late because that was when the really interesting movies came on, I believe certain appetites live inside you—always have and always will. This one time I was in my cold cinderblock basement near 4 AM in the dead of summer, watching Monty Python’s The Meaning of Life and its gonzo interactive children’s TV sketch interrupted the very middle of the film, and in that long shot of the horrifying elephant…
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Stalker 1979
Fatal Shakespearian rumination in a puddle haunted with heavy metal. This film is to me what the monolith is to the homonins in 2001: A Space Odyssey—I don’t have the ability to understand how it came to be, but I would live my life and die for it. This is one of the great cries of despair caught on camera, and the act of expressing it all that someone might hear it is an act of extraordinary hope. It takes heart and nerve to listen.
