Dom Sinacola
Contributor at Freelance
Movie Critic at Portland Mercury
Contributor at Paste
Writer at The Werner Herzblog
contributor: @pastemagazine @portlandmercury; former editor: @cmgzine; founder: The Werner Herzblog: https://t.co/YcZ1qDOfoy
Articles
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1 week ago |
portlandmercury.com | Dom Sinacola
All war movies are now anti-war movies—that is, if an anti-war movie is measured by the severity of its misery. This is an unceasing human imperative in art: to showcase our species’ darkest atrocities through a transcendent exploration of the suffering those atrocities inflict, but to go even more HAM about it than the last guy. To make every war movie more upsetting than the previous war movie.
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3 weeks ago |
portlandmercury.com | Dom Sinacola
Direct Action has no characters. Someone may appear in one scene, and then, several sequences later, enter the frame again. Maybe. Direct Action never names anyone; it only shows you their hands—picking through a mud-heavy bucket, playing piano, or making a huge mass of dough, the camera locked on the pile of flour and pool of water and sunned forearms and gyrating fingers combining everything over the course of nine luxurious, unbroken minutes. Do we ever see those forearms again?
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2 months ago |
portlandmercury.com | Dom Sinacola
Depending on how one wants to categorize ground chuck, at least two people in The Monkey are ground into it. The first is the victim of a horse stampede, and the other becomes a meaty mess via lawnmower. We learn about the former when a sleeping bag is casually overturned, slopping out smushed man-oatmeal.
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2 months ago |
portlandmercury.com | Dom Sinacola
With an almost mathematical precision to its pulpiness, The Prosecutor, the latest action-thriller from Hong Kong superstar Donnie Yen, doles out a brutal fight scene every 25 to 30 minutes. Across two brisk hours, violence shifts proportionately between bouts of athletic knuckling, street brawls, shoot-outs, car chases, foot chases, impalings, and pummelingsâall spaced out evenly, each a deeply satisfying slice of modern Cantonese-language martial pop art.
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Jan 16, 2025 |
portlandmercury.com | Dom Sinacola
Wolf Man is the latest remake in a culture haunted by remakes. Look only a few weeks back to Robert Eggers’ Nosferatu, an adaptation of F.W. Murnau’s 1922 Nosferatu, which was an adaptation of Bram Stoker’s Dracula, with key details and names altered to avoid legal action.
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