Oleg Puzan (AKA Dronny Darko on Cryo Chamber) has a new album coming out on CD via Glacial Movements under the name Line Spectrum, creating “[s]lowly evolving textures mixed with field recordings and synthesized particles suits as a perfect perception environment for a listener”.
Second Sight Films Penelope Spheeris‘s epic three-part documentary series about the shifting scene in music in LA in the ’80s and ’90s […]
Cleopatra Entertainment Disney‘s Beauty And The Beast famously likes to call itself “a tale as old as time”, but traditional though a […]
Well-regarded but under-seen on initial release a decade ago, The Borderlands has become something of a beloved cult favourite, one that along with Ben Wheatley’s early work was key with reviving folk at the centre of horror culture. On its tenth anniversary, this Second Sight re-release gives an opportunity to re-examine the film, and to find it even stronger than the first time round, standing head and shoulders above many of the films that have followed in its footsteps, whilst remaining kind of inimitable, a totally singular concoction.
It does well to initially evoke its era. The film’s primary tones are garish neon and sweat on skin, like a grimy San Junipero, and the set design and cinematography do well to create sense of a place where macho sleaze permeates every nook and cranny of the town. The problem is the characters that inhabit it feel too archetypal, too lacking in the eccentricities and unpredictabilities that would make them believable.
