eXistenZ is weird, unsettling, occasionally hilarious, and visually unforgettable, but beneath its grotesque imagery is a surprisingly thoughtful exploration of gaming, intimacy, and reality.
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A Lizard In a Woman’s Skin (the title comes from a throwaway line delivered by, you guessed it, a drugged-out hippie) is an authentic 1970s giallo, full of lurid imagery and an insolent refusal to have any point beyond base titillation.
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One’s reaction to After Last Season might be to laugh at first, as the lines between good and bad start to blur, but I found my laughter turned into curiosity and, searching through the confusion rather than being just tickled by it, I found the artistry of the film.
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The Legend of the Stardust Brothers feels universal. More than brothers, they are the heroes with a thousand faces: the rock band: the movie.
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Cruel Jaws feels dangerous in a fun way, like watching a friend spray graffiti on a government building. It doesn’t matter that the graffiti is incomprehensible trash, it’s exhilarating and fun in the moment.
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Uncaring adults, prophetic dreams of a sexual nature, carelessly unsafe sex that feels like love, blood-splattered runs from truth and plot into the unknown.
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Sitting through Ben and Arthur at a Weird Wednesday screening is its own category of transformative.
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Michael sounds like a Michael Jackson fan’s dream while Man In The Mirror sounds like an incredibly lacking, unintentionally funny ode to the King of Pop, and maybe both of those things are true, but Man In The Mirror has something that Michael definitely lacked: the courage to explore its hero, warts and all.
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While this is undeniably a poor movie, it is indeed fun to watch, but not taken as a representation of Juan Piquer Simón’s finest work.
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I’m not sure about Penny Slot, but I’m pretty sure that Showgirls 2 is a gift from heaven. Doubly so for the woman who created it.
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‘I’m here, I’m Homoti, get used to it.’
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Despite its oddball ending and workmanlike production, Riverbend is a noteworthy blend of drive-in shoot ‘em up and radical historical revisionism.
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Not every film needs to be built. Some films need to be survived. Help!!! is that kind of movie, and it earns every one of those three exclamation points.
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Vampyros Lesbos is an experience where logic and reality are afterthoughts, a truly dreamlike film that exists as a delivery method for beautiful women doing strange and exciting things around some lavishly-designed contemporary decor while one of the grooviest psychedelic scores of all time takes things to another dimension.
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Hard Target (1993), while sometimes dismissed as a middling Jean Claude Van Damme vehicle, has taken its honorable place in John Woo’s filmography.
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In the middle of February, when movie theaters around the country screen both classic Valentine’s Day films and off-the-beaten-path romantic repertory programming, Weird Wednesday at Alamo Drafthouse South Lamar presented director Sammo Hung’s rom-com action film Pedicab Driver.
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Love Me Deadly is a baffling enigma of a film.
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Foodfight! is a frightening look at the future of film.
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Before we even meet the central couple, the film frames sex not as a conquest for pleasure or love, but as a means to start a philosophy lecture on the human drive.
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This movie was the end of an era, and it deserves your time. We didn’t know how good we had it.
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