Terrifier 2 has Charlie Chaplin’s Tramp written all over it.

Two straight days of calling attention to seemingly throwaway moments in art that nevertheless demonstrate the practical alchemy of the relationship between audience and art.

“Why is this movie talking down to me?” is a criticism usually lobbed at “artsy-fartsy” cinema.

Memory is slippery.

I wrote too soon. 

What’s a bad miracle?

When dealing with a “fuck around and find out” movie about a bloodthirsty lion violently terrorizing an American family who decided to go on the wrong South African safari, I didn’t expect my main takeaway to revolve around the cinematography.

“The ending of one story can be the beginning of the next.”