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Marjorie Testa


About Me

Marjorie graduated in 2019 from Davidson College, where she studied Political Science and Studio Art. Her favorite way to watch films is smothered in blankets and surrounded by friends, or her cats, or (preferably) a combination of both.

This is one of my favorite movies and one of the few that I can happily rewatch again and again. I’ve never been a huge fan of musicals, but what keeps me (and probably many fans out there) coming back to “Rocky Horror” is its delightfully campy, glam-rock stylings and how fun and uninhibited the whole production feels. In a lot of ways it's like a bizarre, debaucherous fairy tale for weirdos, outcasts and folks whose very existence is subversive, and because of that I think it will continue to experience a cult following for a long time to come.
In my opinion, this is one of the greatest zombie movies ever made. The pacing is incredible -- everything is wrapped in tension due to steady progression of the virus in tight quarters and the physical setting of the high-speed train. Several times I even found myself getting up to pace around, much to the amusement of those watching with me, because I was too stressed out to sit still! I must admit that I found several aspects of the end of the film (don't worry, I won't include any spoilers!) to be a bit unnecessarily dramatic, but overall this is an amazing addition to the horror movie anthology.
I literally never hear anyone talk about this film, which is an unbelievable shame because "Attack the Block" is proof that you don't need a huge budget or a massive amount of CGI to create an incredible monster film in the 21st century. Featuring a cast of amazing actors (including a young John Boyega, for whom this was his breakout film), a hilarious and witty script, and some surprisingly cool monsters, I found myself laughing out loud just as often as I was peaking out from between my fingers to avoid scary scenes.
Rarely, I feel, does a film capture the dizzying highs and emotional devastations of being alive as succinctly as “La Grande Bellezza.” Not only does the film live up to its name by being visually stunning — every bit of it is shot with such intelligence and style that I was reminded of a number of Fellini’s most beautiful works — but I frequently found myself bowled over by its metaphors and emotional weight. Even the most seemingly inconsequential of moments are made incandescent thanks to Sorrentino’s determination to infuse every minute with the full spectrum of feelings that come with being alive. Joy, grief, agony, delight, and bittersweet reverence hold hands and dance through Jeb’s longing stares out at Rome’s canals, or through the glittering party scenes, or across the late-night conversations that Jeb has with his friends.