Cult Review
Senior Film Conservator

Honestly, only if you're the type who finds comfort in scratchy audio and actors who look like they just learned their lines in the parking lot. If you like your movies fast, coherent, or even remotely grounded in reality, skip it. If you’re a sucker for historical artifacts that make absolutely no sense, you might find a weird charm here.
It feels a bit like digging through a shoebox in an attic. You find some cool stuff, but mostly just a lot of lint and buttons you don’t need. The whole thing moves at the speed of a tired turtle.
There’s this moment where Paul Grail is staring at a door for what felt like an eternity. It wasn’t suspenseful. It was just quiet. Like he forgot his cue and was waiting for someone to whisper it from behind the curtains. Classic.
The pacing reminds me a little of Daddies, but without the heart. Everyone is running around pretending the world is ending, but nobody looks particularly worried. They look like they’re trying to remember where they parked the car.
I caught myself checking my phone halfway through. Then I felt guilty and put it down. It didn’t matter, because the dialogue is so fast and mumbled that you miss half the plot anyway. Not that the plot is going anywhere.
It’s not as energetic as Millions in the Air, which at least had the decency to be silly on purpose. This one tries to be serious. That’s the tragedy, really. It’s taking itself so seriously.
If you need me, I’ll be watching something that doesn’t require a magnifying glass to understand the motivation of the lead character. Actually, maybe I'll just stare at a wall for an hour. It might have a tighter script. 🧐
Year
1935
IMDb Rating
—

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Deciphering the legacy of transgressive cult cinema.
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