Demonlover – Review


Now for one of the most underrated films of its own time we talk about Olivier Assayas’s Demonlover, which has found itself categorized as a part of the New French Extremity movement. This erotic thriller drew a wide range of reactions going from great dislike to high praise. On behalf of the latter half of its own audience what I can only come to say about Demonlover is that it might indeed very well be one of Olivier Assayas’s best films. If there was anything to be proven with Demonlover it was that Assayas was certainly amongst the most versatile filmmakers of his very own kind, going from experimental drama films now to a cyberpunk erotic thriller – it’s a shame that this film has gone underseen over the years but here’s hoping it gets a critical reevaluation that I believe it deserves. Perhaps it may prove a baffling work for some but I still think there’s something all the more hypnotizing about that quality to Assayas’s work: and it’s absolutely brilliant.

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Showgirls – Review


Imagine the sort of sleaziness that can only be found one place and nowhere else; it’s the sort that Paul Verhoeven wishes for his viewers to experience through Showgirls. Everyone already knows Showgirls from its notorious career-ruining reputation together with a consistent positioning amongst what are supposedly the worst films ever made and even sweeping a record at the Golden Raspberry Awards. Yet in spite of this infamy, it managed to grow a cult within following years on home video, some people saying it may be “so bad it’s good,” but others calling for re-evaluation. “So bad it’s good” it may be for some but I happen to be among the camp that thinks Showgirls is genuine good: a misunderstood work brimming with brilliance.

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