If you’re going to write a love letter to yourself, Jack, this is the way to do it.
Paramount meant what they said when they were giving Chinatown the “collector’s edition” treatment.
The exhaustive, labyrinthine narrative is built up like a fortress around the film’s bitter heart.
The Two Jakes allows Nicholson to reprise one of his most memorable characters as a way of seeing whether he’s still got it.
Is insanity the only sane response to an insane world?
The Devil would make for maudlin, depressing viewing if every scene didn’t feel like explosions were being set off.
The Last Winter’s hard-hitting resolution appeals to the conscience of the viewer, as does Fessenden’s lingering mood of introspective melancholy.
Clever title, insufferable movie!
This respectable piece of 1980s splatter cinema gets a classy DVD treatment.
This zombie flick doesn’t even have the dead rise until the final half-hour.
This strange time capsule of late 1960s dementia more or less lives up to its oddball reputation.
From Beyond is too well acted and boldly thought through to be considered schlock horror.
Spider Baby is unclassifiable weirdness, and that’s meant as a compliment.
Dan O’Bannon’s filmmaking techniques are simple and resourceful.
It’s the zombie movie Howard Hawks never got to make.
This man-versus-nature story is also about man indulging his most uncivilized instincts.
A haunting masterpiece, as mysterious as the deep, dark woods.
This thoughtful and provocative European offering takes its time building a mood of palpable dread.
Unflinching, uncompromising, and finally available in an uncensored version, this is one of the dark hidden gems of 1970s Euro horror.
It becomes a bleak comic spit into the face of organized religion, organized society, and even organized narrative.