A strange and unlikely entry in the pseudo-genre of Action Sequels Better Than The Originals, Universal Soldier: Day of Reckoning is a marvel of brutal action choreography visualized with an inky layer of paranoia thriller style.
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Eve of Destruction feels like a literal blast from a video store past. Part 90s action flick, part cautionary tale of the near future, it’s also a lean melodrama with just enough complexity to withstand its 90-minute run time.
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In 1974, the world was crying out… for snakes. One brave sound mixer by the name(s) of Art Names would answer that call with his sole directorial project: Snakes (aka Fangs.)
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Writing a plot summary for a movie like this made me feel like I was having a mental breakdown.
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It is said by someone, somewhere, at some time in history, that if the eyes are the windows into the soul, the hands point to the path of the divine. But what happens when a person loses their hands?
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Footmen is a Baptist propaganda movie about a Communist takeover of the US in the late '60s. It’s normally the kind of thing that sits in a church basement for years before finally dissolving from vinegar syndrome.
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As a parody of the highly popular Cabbage Patch Kids, the series featured gross-out and absurdist caricatures with a striking, cheeky charm that made them a marketing hit. As a result of this success, Topps Company would go dumpster diving in Hollywood, resulting in the 1987 film adaptation The Garbage Pail Kids Movie.
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Scream for Help is a sleazy, over-the-top, laugh-out-loud film that the Alamo Drafthouse programmer must’ve found at a VHS convention.
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A '70s low-budget vanity project from an aging cabaret performer sounds like something interminable and slack, released on 500 copies by some foreign VHS label, never to be seen again until showing up on Youtube in some smeary, unwatchable way. Remarkably, that's not at all what happened.
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Love On A Leash exists in that space between a movie that shouldn’t have been released and one that should be seen by anybody with the patience for something truly weird.
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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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