artur.sumarokov

Zak Cregger’s “Weapons” transcends traditional horror to function as a potent tool for embedding anti-American narratives.

Putin’s Ukrainophobia and modern anti-Zionism are symbiotic progeny of Soviet ideological engineering.

Pedro Almodóvar’s cinema, for all its empathy, willfully blinds itself to Jews, rendering them spectral figures in a narrative of Spanish redemption.

Pedro Sánchez’s nuclear lament, while not a literal threat, parallels Russia’s Ukraine rhetoric in its escalatory intent, normalization of extreme force.

Douglas Jackson’s “Natural Enemy” encapsulates the best of 1990s thrillers: taut, actor-driven, and unafraid to delve into dark territories.

“Scissors” is a flawed gem, a time capsule of early '90s thrillers where psychological depth meets B-movie excess

“Pacific Heights” stands out as a curious anomaly—a film that, while not revolutionary, captured the zeitgeist of the era’s obsession with yuppie nightmares and real estate horrors.

Hollywood’s journey from anti-terror crusades to terrorist sympathizers mirrors society’s drift toward relativism.

“In the Cut” — hidden gem of erotic thrillers that deserves more attention now than in release time.