We can’t wait until some turntablist uses the album to drop the science.
While it is almost surely the least worthy of the moniker “Cult Camp Classics,” volume three does feature one of the most enduring titles in the entire line.
Criterion has entered the zone.
If you find anything on Double Up remotely sexy, we personally want to sterilize you.
The technical shortcomings of many Fuller films lend credibility to his “roll up your sleeves and start slinging the shit around” approach to moviemaking.
Fixed Bayonets! isn’t the most hyperbolic film in Fuller’s catalog, but it earns the exclamation point.
I hate having to give anything connected with this film passing marks, but the transfer is solid.
Maybe one hardly needs a film to see that mankind is incapable of having good sex without it revealing their other various ineptitudes.
Koch Lorber cocks another one up.
Kick is what’s most sorely lacking throughout Grime Silk Thunder.
What works on Volta will probably endure as long as what (little) worked on Medúlla.
Parenthood is a four-family, four-hankie weepie in which most of the characters talk like screenwriters.
Its very existence means “the best film Ron Howard directed” is, lamentably, not a backhanded compliment.
Harry and the Hendersons eventually emerges as a vegetarian screed.
You know you’re a child of the ’80s if you still hear Harry’s police siren howl in the back of your memory.
At least the film’s (predictable) final twist provides the sort of gender disorder befitting naughty-minded giallo.
Not much beyond a vintage trailer and a stills gallery, which is actually not so much a collection of stills but a batch of lobby display cards.
The film is simultaneously an act of revisionism as well as a parody of then-revitalizing neo-noir.
As documented by Mary Jordan, Jack Smith’s art was incontrovertibly tied up with his vengeful, assaultive personality.
Muriel incidentally captures the thrill and frustration of current-day cinephilia.