Second time’s the charm for my Ripley paper! Sadly I will not be accompanied by all of the wonderful panelists I applied with last year, but I am glad to finally get to share my ideas on this. #scms #scms26

No. 65: Richard Pryor: Live in Concert (1979).

No. 64: Odds Against Tomorrow (Robert Wise, 1959).

No. 63: Sinners (Ryan Coogler, 2025).

No. 62: Torso (Sergio Martino, 1973). Torso is overall a “meh” giallo but boasts some killer eye makeup looks.

No. 61: Companion (Drew Hancock, 2025).

No. 60: Woman of the Hour (Anna Kendrick, 2023). I was very pleasantly surprised by Kendrick’s directorial debut that is relatively faithful to the facts of the Alcala case while introducing dramatic embellishments that hit on larger truths of women’s realities under femicidal culture.

No. 59: Shampoo (Hal Ashby, 1975).

No. 58: I Saw the TV Glow (Schoenbrun, 2024). Final screening of my wonderful horror course at SAIC.

No. 57: Flight Risk (Mel Gibson, 2025). I refuse to believe this was not an AI generated script.

No. 56: The Order (Justin Kurzel, 2024).

No. 55: Daisies (Vera Chytilová, 1966) in beautiful 35mm, courtesy of @chicagofilmsociety.org.

No. 54: Time Without Pity (Joseph Losey, 1957).

No. 53: Léon Morin, Priest (Jean-Pierre Melville, 1961).

No. 52: Watcher (Chloe Okuno, 2022).

No. 51: Le Crime de Monsieur Lange (Jean Renoir, 1936)

No. 50: Office Killer (Cindy Sherman, 1997).

No. 49: Poor Things (Yorgos Lanthimos, 2023).

No. 48: Crossing Delancey (Joan Micklin Silver, 1988).

No. 47: Bean (Mel Smith, 1997).

No. 46: La Llorona (Jayro Bustamante, 2019).

No. 45: The Honeymoon Killers (Leonard Kastle, 1970).

No. 44: My Brother’s Wife (Doris Wishman, 1966).

No. 43: Train to Busan (Yeon Sang-ho, 2016).

Ready to get emotional and scared at @thepetermarra.bsky.social’s panel on Emotional Horror (featuring friend @krp.bsky.social) at #SCMS25!

No. 42: The Worst Person in the World (Joachim Trier, 2021).

No. 41: Viy (Yershov & Kropachyov, 1967).

No. 40: Audition (Takashi Miike, 1999).

No. 39: Crimes of Passion (Ken Russell, 1984).

No. 38: Hostel (Eli Roth, 2005).

No. 37: Candyman (Bernard Rose, 1992).

No. 36: Creepy (Kiyoshi Kurosawa, 2016).

No. 35: A Nightmare on Elm Street (Wes Craven, 1984).

No. 34: Bridget Jones’ Diary (Sharon Maguire, 2001).

No. 33: I Saw the TV Glow (Jane Schoenbrun, 2024).

No. 32: Return to Me (Bonnie Hunt, 2000).

No. 31: The Texas Chain Saw Massacre (Tobe Hooper, 1974).

No. 30: Mr. Smith Goes to Washington (Frank Capra, 1939).

No. 29: Cuckoo (Tilman Singer, 2024).

No. 28: The Exorcist (William Friedkin, 1973). This week in my horror class we screened Friedkin’s head turning classic of post-Code Hollywood. I was surprised to see some students gasp or clasp their hands over their mouths in shock; it’s good to know this horror gem still packs a punch!

No. 27: Victims of Sin (Emilio Fernández, 1951).

Tried my hand at linocut for the first time and (perhaps over-ambitiously) decided to try to do a silhouette of the late great David Lynch— have to say I am beyond pleased with this first pass!

No. 26: Il Demonio (Brunello Rondi, 1963).

No. 25: O Brother, Where Art Thou? (Joel and Ethan Coen, 2000).

Discussed the flagging influence of the Code and the move from gothic to psychological horror in this week’s installment of my horror class. No. 24: Psycho (Hitchcock, 1960).

No. 23: Ladies of Leisure (Frank Capra, 1930).

No. 22: Gattaca (Andrew Niccol, 1997).

Such a pleasure to be able to introduce my horror class to two James Whale classics while discussing queer coding and artistic subversion under the Hays Code this week! No. 20 & 21: The Old Dark House (1932) and Bride of Frankenstein (1935).

No. 19: Groundhog Day (Harold Ramis, 1993).

No. 18: Shock Corridor (Samuel Fuller, 1963).