‘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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In Dead Bang, Don Johnson’s Jerry Beck isn’t a wisecracking action hero like John McClane; he’s exhausted, bureaucratically constrained, and emotionally numb. The movie keeps reminding you that this is a job, not an adventure. He’s got bigger fish to fry, it seems.
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Despite the difficult exterior, the film strives to look lovingly at New York City, knowing under the rough edges there’s a place full of beauty and unique magic, a victim itself of fraught leadership.
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Have you ever wondered if Santa Claus could beat Lucifer in an ultimate battle of good and evil? If yes, do I have the movie for you!
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Verhoeven trusts us to take in an onslaught of religious parallels and florid symbolism and come to our own conclusions on what it all means—if anything.
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Movies are often described as having dream logic or otherwise being dreamlike, and this truly feels like a dream.
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Who Killed Teddy Bear? is a seemingly salacious examination of human perversity, but there is room here for something more nuanced, thanks to performances that elevate the material.
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The Apple is a campy, blast from the past, borderline hippie propaganda mess that I couldn’t look away from and a not-so-genius product of its time.
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Despite being in the public domain, Spider Baby is best shared with a whole room filled with friends and strangers, a communal experience in beautiful weirdness before its time. It’s almost like Jack Hill dared to ask the question: What if the Addams Family were as dangerous as they were lovable?
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Surfer, Dude is tonally deranged, structurally unfocused, and difficult to fully comprehend… but, the vibes were good.
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What happens when the Kong franchise bounds outside its California home and we let the Godzilla folks take the reins for a bit? The result is the recent Weird Wednesday showing of King Kong Escapes.
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