While few of Fulci’s classic films appear to take place in the “real” world, Conquest (1983) is the director’s lone foray into the pure fantasy genre.
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From the get-go, Godzilla vs Megalon misleads and surprises the audience. Outside of the final twenty minutes and the first two minutes, Godzilla is not in the movie. Rather, we follow a story of kaiju and sci-fi intrigue as two parents and their kid try to stop spies from the underground world of Seatopia from stealing Jet Jaguar, a humanoid robot.
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Peter Strickland’s Duke of Burgundy examines the give and take of love through the prism of kink, and how even in the context of a sapphic dom-sub relationship, power dynamics can ever shift between two people.
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A classic riff on The Dirty Dozen, the film follows a ragtag group of undocumented Chinese-Americans who are offered US citizenship in exchange for dropping into the jungle to destroy a cache of American weapons before the Viet Cong can find them.
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I Come in Peace feels like the culmination of 80s action schlock dialed to eleven and engineered to do nothing but simply entertain our lizard brains with mesmerizing action, cheesy comebacks, and gargantuan muscles.
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Paul Michael Glaser’s The Running Man bottles up all the absurdity lovingly found in any great ‘80s action flick, but uncorking it almost 40 years later proves that some of the absurdity has matured into a shockingly accurate dystopian satire.
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If this is your first Gamera, Super Monster is as satisfying as any other entry point you could choose.
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In School of The Holy Beast, director Norifumi Suzuki and the Toei film studio bring a nunsploitation that challenges the audience through the shocking nature of its story juxtaposed with its beautiful imagery.
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Nearly 45 years on, Altered States sparks synaptic connections rarely felt in big-budget movies with its operatic emotions and theatrical dialogue.
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What Dark Angel: The Ascent lacks in Ursula is made up for in spine removals as Angela Featherstone lets loose her sense of justice upon the world.
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Flesh for Frankenstein stars Udo Kier as the titular Dr. Frankenstein, on an obsessive quest to create two perfect specimens of humanity.
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Cool monsters are expensive. Zeiram skimps on the story to feast on a live-action critter (or three).
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Of Unknown Origin (1983) is about a man trying to kill a rat. But this clever horror film is really about the lead character’s Ahabian obsession with both his rodent opponent and with his career success.
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Ted Post's The Baby (1973) tells the story of a woman stricken with grief, looking to help an underdeveloped adult man trapped within the warped remains of a nuclear family.
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A definitive ranking of every outfit Honey Kitsuragi wears in Hideakki Anno’s 2004 Cutie Honey adaptation.
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Venus in Furs is jazz on film. It’s about the scenes you don’t show, baby.
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Films about transness and particularly trans women have been around, oh, since the invention of film, but films with trans actors are rarer. Hard Women doesn’t provide a clear history of transness in Germany. It doesn’t give us easy answers, or “representation.” Instead, what Hard Women does is offer a layered reflection of transploitation and trans performance in 1970s Germany.
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A truly once in a lifetime opportunity to see a film straight from Quentin Tarantino’s personal archive. The only E.T. ripoff to spend more time building up to a BMX race than focus on the alien. A frankly painful amount of shots of children absolutely beefing it on their bikes. This is Magic BMX.
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Norman MacLeod’s Alice in Wonderland adaptation brings viewers into an exquisitely rendered world with uncanny visuals.
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Joe Dante’s homoerotic sci-fi comedy Innerspace, captured through its most crazy-ass brain-searing images.
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