1970s
The film making is far from flawless, but what Ganja & Hess really projects is the sense that it came from a person who wanted the work to reflect himself.
1979’s Apocalypse Now has achieved an almost cult-like status, and no war film has captured the depravity of war the same way since.
Despite not being as well known as some of his masterpieces, Why Does Herr R Run Amok? makes for an ideal introduction to Rainer Werner Fassbinder.
A satisfying slice of sleaze served up on celluloid, Série Noire is a deliciously good watch.
This month for our Staff Inquiry, we’re highlighting some of the TV series that left us feeling just right.
We salute Rudy Ray Moore, who had a wild idea, got his pals and like-minded folks together, wrangled some money, and went out to make a movie.
Je T’Aime Moi Non Plus is another fitting example of what made Serge Gainsbourg such a unique and, yes, controversial talent.
Horror classics When A Stranger Calls (1979) and When A Stranger Calls Back (1993) are being re-released on BluRay. Alex Lines takes a look.
For all its flaws, Girls Stroke Boy is a portrayal that is more progressive than a lot of current cinematic depictions of trans people.
Finding Steve McQueen is an unfortunately dull heist film, bogged down by unnecessary subplots and a lack of overall energy.
A spiritual forerunner to modern coming-of-age films like Eighth Grade and Lady Bird, Peppermint Soda is a charming glimpse at two teenage girls growing up.
Second Sight’s revival of World on a Wire is vital for not only highlighting one of Fassbinder’s more underrated efforts, but for resurrecting one of the essential texts of science fiction.
We take a retrospective look at Ingmar Bergman’s The Serpent’s Egg, which many view as a misfire from the director, but could be seen more favorably through another light.
In this first edition of She Looks Back, we take a moment to look back at the Hitchc*ck inspired Last Embrace from director John Demme – a film that deserves a second look.
Ken Wiederhorn’s mostly forgotten 1977 film Shock Waves is an apt metaphor about the fear of a fascist planet.