1980s
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.
In the No Time To Die Countdown, Jake Tropila takes a look at A View to a Kill, the final James Bond film starring Roger Moore.
As we wait for No Time To Die, Jake Tropila takes a look at Never Say Never Again, the only unofficial James Bond film starring Sean Connery.
Owen Butler takes a look at the new Criterion Collection release of Amy Heckerling’s 1982 classic Fast Times at Ridgemont High.
It’s a clever and fresh take on not only an oversaturated genre but also an intriguing take on one of the most fool-hearted days of the year.
Far from the best horror film, and far from the best slasher, there is something classically endearing about My Bloody Valentine.
By examining these two films, audiences can come to terms with why this struggle against business practices in America has felt so small in past films.