Eddie Pasa
Eddie is a member of the Washington DC Area Film Critics Association (WAFCA) and the Online Film Critics Society (OFCS). Since starting in 2010 at The Rogers Revue, Eddie has written for Reel Film News (now defunct), co-founded DC Filmdom, and writes occasionally for Gunaxin. When not reviewing movies, he's spending time with his wife and children, repeat-viewing favorites on Blu-Ray, working for rebranding agency Mekanic, or playing acoustic shows and DJing across the DC/MD/VA area. Special thanks go to Jenn Carlson, Moira and Ari Pasa, Viki Nova at City Dock Digital in Annapolis, Mike Parsons, Philip Van Der Vossen, and Dean Rogers.
Posts by Eddie Pasa
It pains me to no end that writing/directing duo Aaron Moorhead and Justin Benson aren’t more well-known throughout the cinematic landscape. Their films are massively creative and imaginative, defying low budgets, limited locations, or a perceived lack of big-name stars. From Resolution to Spring to The Endless (with a stopover in the anthology film V/H/S: […]
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I’ll say this about The Doorman: It’s a better Die Hard sequel than the last two films in that particular franchise. There’s a certain sense of fun and believability which both Ruby Rose and Jean Reno bring to their roles, and the action is more compelling; but when the final frame rolls, there’s no avoiding […]
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Writer/director Brandon Cronenberg continues his father David’s storied tradition of turning horror on its ear with Possessor, a mind-frying bender of a head-trip that pulls absolutely no punches. Cronenberg joins the ranks of modern horror auteurs Jordan Peele, Ari Aster, Karyn Kusama, and Robert Eggers in making horror cinema a visceral, dread-filled ride through the […]
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Wife. Mother. Daughter. Chef and server. Laundry mistress. Transport provider. Schoolteacher. Neglected and unaided. This is Holly’s (Azura Skye) life in The Swerve, a title which stabs at us literally and figuratively while her last vestiges of sanity slip away like the sun’s rays before nightfall. As we watch, we understand that we can’t do […]
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Author’s note: the MPA rating description claims “sexual content throughout” and “strong language,” but that’s not entirely true. I’ve seen male-fronted comedies receive PG-13s with the same language and situations found in The Broken Hearts Gallery, and the worst ratings factor those films got was “some crude language” or some other equally innocuous reason. At […]
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Quite honestly, Killed My Wife comes off as a more serious, darker version of Dude, Where’s My Car? with a good dose of Memento thrown in the mix. It’s a film which, thanks to the unreliable memory of its lead character, grows deeper and more engrossing by the minute. The sex-or-violence prologue and the title alone […]
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Watching Rent-A-Pal – a psychological horror regarding video dating and friendship set in 1990 – during our current isolation wasn’t what writer/director Jon Stevenson had in mind, seeing how it’s been three years from writing to release. As Stevenson tells it in a recent roundtable interview, “I had fallen into this depression and anxiety… and […]
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The 2016 surprise zombie/action movie Train to Busan caught us all off-guard as an unknown, gut-wrenching tale about a family’s fateful journey from Seoul to Busan, Korea. Word of mouth passed rapidly among the cognoscenti, filtering on down to us plebeians after its release on Netflix, where it quickly found a dedicated following. A radical […]
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Nothing says “down and dirty” like The Prey, a ruthless and taut grindhouse adaptation of Richard Connell’s 1924 short story, “The Most Dangerous Game.” The film gets straight into the hows and whys of humans being hunted for sport, unlike the more famous of the two early ‘90s filmed adaptations, Hard Target (the other being […]
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Plenty are the films about the comedy of errors that is parenthood and subsequent family life, but what about those whose paths and choices have taken them a different route? Where are the movies about the single folks who, either by choice or by circumstance, don’t get married or have children? If there are stories […]
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