Saturday, September 26, 2026

YOUR MOTHER YOUR MOTHER YOUR MOTHER



People have been comparing Bassam Tariq’s latest film to Jim Jarmusch's Ghost Dog just off of the trailer. After watching Your Mother Your Mother Your Mother last night, I can confirm that the comparisons are more than understandable. Tariq himself admits to drawing inspiration from Ghost Dog.

When I watched it [Ghost Dog] a long time ago there was this feeling where I was like, 'Oh there's this man that lives in an urban environment that wants to follow some kind of ancient code - Bassam Tariq, Huffington Post

Ghost Dog / Your Mother Your Mother Your Mother


Both movies are about proud stoic Black hitmen that live by a conflicting and somewhat vague spiritual code. In Ghost Dog it’s Samurai-ism and in Your Mother Your Mother Your Mother it’s Islam with a mixture of various eastern philosophies sprinkled in. Both films also find our hitmen with targets on their backs after a job goes wrong (classic hitman movie trope). Both films also have interestingly misplaced moments of awkward/dry humor. At the start of Ghost Dog we get a quick peek in to what might have been a lost loved one while Your Mother Your Mother Your Mother opens with our main character’s wife passing away. 

Ghost Dog / Your Mother Your Mother Your Mother

Ghost Dog / Your Mother Your Mother Your Mother


Both films are rooted in hip-hop. Rza did the score for Ghost Dog and was a huge part of the promotion of it. This time around, Mahershala Ali credited Ka’s Honor Killed The Samurai album as an influence on his portrayal of Latif (I imagine an alternate world where Ka was alive to score this film).


 
Both movies even have similar opening scenes!
Ghost Dog / Your Mother Your Mother Your Mother


The major difference between the two films is that Ghost Dog is a loner. In Your Mother, Latif has to juggle his violent occupation with single fatherhood.

It should be noted that while Ghost Dog is an excellent film, it is a loose remake of Jean Pierre Melville’s Le Samourai. But what’s incredibly fascinating is that outside of the mysterious hitman living his life by a cool-sounding spiritual code, Your Mother Your Mother Your Mother takes from all the elements that Ghost Dog didn’t lift/borrow/redo from Le Samourai. There are social and racial elements to Ghost Dog and Your Mother that aren’t in Le Samourai. Bassam Tariq's movie is sort of a looser remake of an already loose remake.

Le Samourai / Ghost Dog


It also wouldn't be right to not make the obvious comparison to Lonewolf and Cub. There's an action sequence involving Ali's Latif fighting his way out of a strip club/church with a baby strapped to his chest.

Lone Wolf and Cub / Your Mother Your Mother Your Mother


On paper, Your Mother Your Mother Your Mother is very cartoonish and unbelievable. This story is set in a sort of underground world within Houston, Texas made up of Mormons, Muslim hitmen, gun-toting religious cult leaders with gold fronts and lactating ex-porn stars. Bassam Tariq somehow makes these cartoonish elements seem somewhat believable. Had another director worked with the same source material this would have been a mess. Even though this movie is filled with spiritualism and grief that is meant to be taken to heart, you have to view it on the same level as something like Hard To Kill or Commando. This is a slow-burn action movie at the end of the day. 

Now...I’m still grappling with the finale. I don’t know if it fully works but I appreciate what I think Tariq tried to do. Sensical people will write it off as silly whereas folks that like open endings will be dissecting this for quite some time. I also think there was an opportunity to go full-on John Woo in the end but it only goes half way.


At the end of the day this is a collage of Ghost Dog, Lonewolf and Cub and the residue of the failed Blade movie (both Tariq and Ali were attached to the Blade reboot before it was scrapped). I’m hardly the first person to note this but Your Mother Your Mother Your Mother is the positive result of another failed project. I would have loved to see what Mahershala Ali would have done with the Blade character but I’ll settle with this.


Sunday, September 6, 2026

UPGRADE (SCORE THIS! PODCAST)

I recently appeared on the Score This Podcast to talk about one of my favorite subjects: Upgrade (2018). Listen as we talk about Jed Palmer's phenomenal score, sound design, what it means to be a cult film in 2026 and so much more.

Click here to read my thoughts on Upgrade as well.

Tuesday, September 1, 2026

TEENAGE SEX AND DEATH AT CAMP MIASMA



For those of you that are tired of reference/homage-heavy cinema where the director is constantly tipping their hat to their favorite directors - this might not be the movie for you. As much as I love a good side-by-side comparison, I find myself getting sick of all the Tarantino-esque movie collages out there. Teenage Sex And Death At Camp Miasma is an exception. Jane Schoenbrun gets a pass with her latest film. The basic plot centers around a young queer filmmaker, "Kris", tasked with rebooting/revamping a fictious horror franchise about a trans serial killer at a Sleepaway camp. The franchise started in the 80s when trans and queer elements in film were treated problematically. The studio responsible for the film and the sequels thinks hiring a younger queer director would make the franchise, and its queer elements, more up-to-date.

So…a film about rebooting a slasher franchise directed by a cinephile filmmaker (Schoenbrun) known for putting references in their movies (click here and here to read my thoughts Jane on Schoebrun’s other films). If you go in to a movie like this expecting to not get an obvious nod or a tip of a hat to something like Friday The 13th then you’re being disingenuous. 

Friday The 13th / Teenage Sex and Death at Miasma

 
Teenage Sex and Death at Camp Miasma is full of intentional nods to everyone from David Cronenberg and Bergman…

I just find the glow of a screen to be appealing. It's something that I very naturally gravitate toward, in the way that David Cronenberg gravitates toward body horror - Jane Schoebrun, The Hollywood Reporter

Videodrome / Teenage Sex and Death at Miasma

Videodrome / Teenage Sex and Death at Miasma

Persona / Teenage Sex and Death at Miasma

Persona / Teenage Sex and Death at Miasma

Persona / Teenage Sex and Death at Miasma

Persona / Teenage Sex and Death at Miasma


To David Lynch and Shinya Tsukamoto

Tetsuo The Ironman / Teenage Sex and Death at Camp Miasma


Between when I was a kid and watched Twin Peaks for the first time and when the show got rebooted in 2017, I just had recurring nightmares about it- Jane Schoenbrun, Inverse.com

Twin Peaks / Teenage Sex and Death at Camp Miasma

I’m a big fan of thinking of a film as infinitely deep. I think I got that from [David] Lynch - Jane Schoenbrun, Letterboxd

Inland Empire / Teenage Sex and Death at Camp Miasma


Chantal Akerman is often referenced in her films and this seems to be no different...

Jeanne Dielman... / Teenage Sex and Death at Miasma

The body horror elements reminded me of Dr. Caligari (1989)

Dr. Caligari / Teenage Sex and Death at Miasma


All four filmmakers have explored topics like body horror, body dysmorphia, gender reassignment, queerness and more. It makes sense that a queer filmmaker like Schoebrun would pull from these folks. Her films deal with a lot of the same topics.
These influences are also connected to each other as Bergman's imagery coincidentally influenced Lynch who influenced Tsukamoto. Tsukamoto was also heavily inspired by Cronenberg. Cronenberg and Lynch have always been compared to each other or mentioned in the same writings and reviews for decades.
I acknowledge that some of my comparisons are a little surface level but when you consider everything I've laid out - even the most seemingly surface-level comparisons have a good amount of depth no matter how basic they may seem at first glance.


Referencing something like Friday The 13th is an easy layup.  Teenage Sex and Death at Camp Miasma is really a reassessment of some of the themes in Sleepaway Camp (1983). The backstory of the killer in the Camp Miasma franchise, "Little Death", was raised both male and female by their parents. In Sleepaway Camp, we come to find out that the killer is trans. I am greatly simplifying the plots to both films in hopes you will seek them out if you haven’t seen them. I’ve said this before and I’ll say it again – I’m not a fan of movies being made out of ironic/cynical film twitter or letterboxd talking points. But, again, this is the exception. Sleepaway camp found a new audience years after it’s initial release. Young queer and open-minded cinephiles took to platforms like twitter, medium and various podcasts to reassess what they felt were queer themes in the film. Every once in a while a young generation of film fans discovers an older film with a plot or subplot that was ahead of its time and not handled correctly during the film’s initial audience. Sometimes it takes young millennials or Gen Zers to catch something that Baby Boomers or Gen-Xers missed. Trans stories in film are still a bit taboo and/or misunderstood in 2026 so imagine a 40+ year old movie like Sleepaway Camp being exposed to mainstream audiences expecting to see another Friday the 13th.

There is a very meta aspect to this movie. It’s clear that elements of Kris represents Jane Schoenbrun. Kris trying to breathe new life in to a slasher film with queer themes is clearly Schoenbrun herself working this all out with her own movie. Hannah Einbinder's performance as "Kris" also mirrors her character in Hacks (an aspiring sexually fluid filmmaker that gets in to a complicated relationship with an older established female celebrity).

It’s no mystery that I’m a Jane Schoenbrun fan and Teenage Sex and Death at Camp Miasma is no different. This is her most ambitious project to date. But it isn’t for everyone. I think “outsiders” of all kinds will gravitate towards this in the same way they did to Schoenbrun’s previous films. I feel like when the dust settles on this there will be a huge generational contrast between how this it's received. Again – the young millennials and Gen-z folk that I referenced earlier with appreciate this while Baby Boomers and older Gen-xers might jus brush this off as nonsense. Considering I just missed Gen-x and am one of those older millennials raised by Baby Boomers that feels like they don’t have any connection to younger millennials – perhaps that’s why I have a potentially unique perspective on this.



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