I enjoy Kasey Mohammad's movie encapsulations, especially lately an apparent attempt to review the entire Hammer Films oeuvre. remember when these were on every saturday afternoon, and you chose to pass them by and watch or do something worthwhile instead? I haven't seen one of them in at least half a gazillion years but now I yearn. what these films offer, and a lot of films likewise, is how the movie experience as viewer's receive it is nothing like what the filmmakers intended. where the film is supposed to be terrifying, you're laughing, where it's supposed to be lovely, you're creeped out. author function, author function. you, as a viewer, feel a release in these movies, you're untethered. you're clearly part of the generative process. whereas in poetry, don't we feel constricted as we read? the tactics by which poets try to waylay the interpretative imperative, I mean all the processes of disengagement (from) that have arisen in the this 'modern' era, to release poetry into its own world and not some critical containment, these tactics are essential in the fight. a pall of complacency hangs over poetry. it's not just academic-sclerosis, the freezing of poetry into controlled intellectual dollops, it's also emotional-sclerosis, in which poetry is seen as an outlet for emotion, and other sclerotic events as well. whereas movies can bust a move on us, or we on them. I think Citizen Kane is the corniest movie around but even in that corniness there's some power or effect that's close to the door of transcendence. I don't know what to do about poetry except open myself up to weirdness and dismay. I mean that's the ticket, rather than remain guarded or controlled. so I take these Hammer film reviews by Kasey seriously, as visions of poetry unbound. go ahead and laugh.