1980s
Nothing seemed more fitting for the fall equinox than Fritz Kiersch’s adaptation of Stephen King’s classic Children of the Corn.
Newly restored, Life is Cheap… But Toilet Paper is Expensive can be overwhelming, and even unpleasant – but it’s incredibly unique.
Predator is one of those classic films that is a must-see – especially if you have the right crowd to watch it with.
Out of all of the Batman movies I have seen, the 1989 version is the best, and director Tim Burton captures the moody magic of Batman with a deft hand.
A mash-up of sci-fi, humor, and peculiarities, Repo Man is, if nothing else, one of a kind and a cult classic worthy of it’s following.
The Stepfather is not the knock-out it wants to be, yet there is a horror within its framework and excellent lead performance.
Urotsukidoji: Legend of the Overfiend begins with all of its cards on the table, from the first scene it shocks and only increases from there.
A breakdown of Roar, or “the most dangerous film ever made”, where half of the cast and crew suffered injuries from the film’s big cats.
Merry Christmas, Mr. Lawrence is a beautiful film, and despite its grim subject matter, there is an underlying sense of warmth to it.
Żuławski channeled his personal heartbreak into primal horror, and the result is a messy, marvelous movie.
We took a look at Criterion’s September releases, including Johnnie To’s Throw Down and Melvin Van Peebles: Essential Films.
Jake Tropila takes a look back at Licence to Kill, the second and final James Bond film starring Timothy Dalton.
In the No Time To Die Countdown, Jake Tropila takes a look at The Living Daylights, the first James Bond film starring Timothy Dalton.
It’s films like Angel’s Egg that make the critic feel like a charlatan, aimlessly looking for patterns in the entrails.
Horrific Inquiry looks back on Sleepaway Camp, one of the most successful independent films ever made, and its societal lens on young women.
