In the new issue of Shock Cinema, House contributor Jeremiah Kipp interviews unconventional leading man Ron Perlman.
In the 1960s, there was a belief that the force of social change could revolutionize the world.
Sean Penn is in full-on Greatest American Actor mode in All the King’s Men.
Forest Whitaker gives a tour-de-force portrayal of a creature who is all the more horrifying because his evil is so recognizable.
Holding the camera on the aged face of the great Japanese actor Ken Takakura speaks volumes.
This smirky ask-nothing account of Bettie Page’s life won’t give anyone a rise, good or bad.
Satan’s Playground suggests a storybook fairy tale on acid.
Satan’s Playground announces Tomaselli as a horror talent to watch out for.
Flip on the Independent Film Channel any day of the week, any hour, and chances are you’ll find a movie like Factotum.
Chinatown’s final revelations are all about personal intrusion.
If you wish to revolutionize your life, hop on the back of a motorcycle and hit the road.
The film is fueled by a lush and energetic soundtrack that captures the whirlwind of young romance.
The Ordeal has a sick sexual frisson that sometimes resonates.
When Farrell and Foxx are in motion, they’re able to coast along on their charismatic movie star presences.
How do films dealing with the relevant socio-political issues of their time withstand the test of time?
The War Game is an ideal starting point for those curious about Watkins’s cinema.
By digging under the surface, Peter Watkins sees the lies perpetuated in history, and how they reveal the lies we face right now.
David Mamet’s macho prose pares down the world to blowjobs, power, and God.
The film is made profound by Béla Tarr’s startling visual approach.
This is the turning point for Tarr, leaving social realism behind to step into the existential abyss.