The album is suffused with the spirited energy of a man who’s finally gotten something off of his chest.
After the success of Halloween, all a slasher pic producer needed to concoct a new franchise was to pick a holiday and go from there.
Naughty indeed.
If the series has taught us anything, it’s that underneath the padding, Santa is one hot piece of ass.
No album, movie, or book should ever have to live up to the expectations attached to the label “biggest selling of all time.”
The house of Jaxx is a carnival labyrinth of smoke, mirrors, and liquid insanity.
For anyone who doubts that a film that’s soaked in camp can’t tackle a timely subject, here is Lipstick.
It’s Lifetime. It’s camp. It’s seriously confused, and it should speak directly to drag queens in straight relationships everywhere.
Peter Collinson’s The Italian Job is a freewheeling, completely unpretentious chase comedy.
G-rated movies rarely start out by suggesting multiple orgies. The ones that do are to be cherished.
The humor is mostly milked from self-reflective, meta-movie badness.
Trivia, radio spots, and a few other none-too-consequential goodies round out a phenomenally extensive set of extra features. Nice job.
Conrad Veidt’s terrifying grin masks the horror of having one’s looks be objectified at the expense of their humanity.
Batman and the Joker only wished for this kind of psychological complexity.
The Sea’s breathtaking establishing shots are enough to make each passing crisis-ridden scene more trying than the last.
The Phantom of the Opera is one of those classic films whose reputation trumps its actual cinematic worth.
This “ultimate edition” is honestly more than the film deserves.
Kirby Dick’s film is an unquestionably straightforward and unflinching depiction of Bob Flanagan’s painful and prolonged death.
Whichever day you choose to watch it, the shock-filled and depressing Sick will ruin it.
Wes Craven’s infamous schlocker was an exercise in pop culture-crashing perversity.