cult
Chapman and Maclain Way’s six part documentary series Wild Wild Country is an ambitious six part documentary series that needs to be seen to be believed. The directors spoke to Film Inquiry’s Kristy Strouse about making this monumental project a reality.
We were able to talk with Mark Duplass, executive producer of the six-part Netflix documentary series Wild Wild Country, about what it was like to delve into such a hidden and bizarre piece of history.
With the premiere of The Disaster Artist, we examine why films like The Room still have such an enduring status despite being labelled “trash film.”
Despite a chilling concept and a serviceable lead performance, The Faith Community still leaves a lot to be desired.
Darren Aronofsky’s Mother! is a unique and confusing experience that will stay with you, long after the film has ended.
Lacking substance or exploration of themes, The Bad Batch is a pointless post-apocalyptic, psychedelic trip to nowhere-land.
Though released in 1979, THE WARRIORS has a video game structure that would prove as influential to the artform as games themselves.
John Waters’ 1974 camp comedy pushed audiences out of their comfort zones, via a raucous celebration of queerness at its most unconventional.
Sure, it’s a terrible film, yet Silent Night, Deadly Night 2 has elements to make it an entertaining cult classic in the making.
If we can accept aesthetic subversion as a form of commentary or aesthetic, why do we still consider trash films as some sort of failures?
Two great performances are wasted in Rupture, a mess of a horror movie which sets up mysteries it doesn’t even know how to answer.
Paul Thomas Anderson deeply cares about his characters, and the world that surrounds them. These themes are front and centre in The Master.
Holiday Horrors provide a comforting alternative to the forced gaiety of the season – and Black Christmas is one of the best to watch.
The films that are so bad they’re good are the epitome in ironic movie-watching: intentionally watching terrible films in order to laugh at their technical failures, providing more humour than most comedies nowadays.
I, like a lot of people, don’t like scientology. I think it’s nonsense – nonsense propagated by arrogant people in an effort to coerce the desperate into giving them power and money. When I heard Louis Theroux was making a documentary about it, I was very excited.