American History X (1998): The best movies are timeless and, tragically, this one is particularly so. It’s been a few months since I rewatched it, but I just couldn’t get myself to write about, with the constant angst surrounding American politics. When I watched it in the early Trump presidency, the ICE raids and the demeaning approach to a complex social situation felt so strongly akin to the extreme narratives that Derek Vinyard articulates to justify his actions. AHX has widely been criticized for being too ambiguously poetic in its anti-racist stance, but in centring itself around a charismatic character, it turns out more true-to-life that we would like to think is possible. A lot of the stigma around being perceived as racist has been toned down in this strange, new world we now inhabit, showing how deeply rooted hate is and how fundamentally black-and-white society can truly be. There are three phenomenal scenes, two of which at the dinner table and one as Derek rouses his supporters against immigrants, which may be a tad didactic, but the weight of their eerie connection to present-day reality is just disturbing. AHX was one of the movies that made me get into cinema, throughout those golden years at the end of the 90s, and it still stands as a cross we have to bear. 9
The Impossible (2012): This is your classic case of two movies in one – a haunting first half with a wannabe feel-good second half. The problem is that the former is substantially more memorable than the latter. Built on two substantial performances by Naomi Watts and a young Tom Holland, we follow the real-life story of a family that finds itself front and center as the 2004 tsunami hit in the Indian Ocean and led to severe loss of life and property damage. The depiction of the grim events is brutal, but doesn’t stray into the cheaper ranks of torture porn, while still eliciting serious discomfort. Ultimately, the human story is the one that fails, because it’s hard to sell the neat bow that gets put on The Impossible, when so much suffering occurred. Having a Western POV also feels like the “easy route”, even as the generosity and dedication of locals gets into the limelight. I’m sure someone more versed in the matter of representation could discuss this at length, but other than these gripes, I think The Impossible is a movie that sticks with you for a long time, as a visceral retelling of a true tragedy. 7
Summer of 69 (2025): A mild, raunchy comedy about a teenager looking to learn how to 69 from a stripper in order to not disappoint her theoretical love interest, Jillian Bell’s movie has just enough going for it to be enjoyable. Firstly, a banging soundtrack. Secondly, a wholesome story. Thirdly, some really funny moments. The cast does a decent job to offer the mostly been-there-seen-them characters a life of their own, with lead Sam Morelos highly likable and easy to root for. Easy to sit through, probably as easy to forget, but fun while it lasts #titleofmysextape. 6
Scared Shitless (2024): A typical B-movie, that’s perhaps too polished for its own sake, SS is neither very scary, nor very funny. It stars Steven Ogg, of GTA fame, who plays a plumber that’s faced with an ungodly, tentacled monster. He also has to introduce his flailing, bacteriophobe son to the business, and as chance would have it, their first job is at a building owned by one of said son’s former high school classmates. The colourful neighbours start vanishing after said tentacled monster is released by a somewhat deranged scientist trying to save his research. This is all very camp and mildly amusing, but the movie never really manages to consistently stay outside the toilet. 5
Slaxx (2020): After In Fabric’s killer dress, Slaxx treated us to some pairs of killer jeans. Except that where In Fabric was deliriously hypnotic, Slaxx is just a literal critique of fast fashion. We explore the universe of CCC, a cult-like clothing producer where everyone is in on the big lie of fair and equitable clothing wears. The movie’s aesthetics and simple, but clever effects elevate it above the level of a throwaway, but in the end it’s neither funny, nor unsettling, nor with enough of a social bite to really standout as anything but a kooky neo-slasher. 5
tributary stu 