Cedric the Entertainer weasels himself into the lead role with very mixed (mostly negative) results.
Tourneur’s use of sound is perhaps as well regarded as his shadowplay. The women of Leopard Man may seem anonymous, but Tourneur uses sound to both scare and complicate them.
It figures that the sex scene from Don’t Look Now has become more legendary than the film itself.
What with the San Francisco setting, screaming AIDS metaphor, synchronized clone voguing and references to Björk, Teknolust is no runaway gay fantasia.
Buñuel both ushers the lovers into a romantic afterlife and fabulously ponders both Ricardo and Eduardo’s inability to distinguish between human beings and things.
What a curious thing it is to listen to a man read from the pages of Rebecca Miller’s female-empowering Personal Velocity.
Though this exploitation quickie’s infamous promotional hook read “It’s only a movie,” it could have easily been “It can happen in your backyard.”
Tarantino’s second feature is at once ridiculously entertaining and remarkably weightless.
It remains one of the genre’s homelier entries, there’s no faulting a film this lovingly and aptly arcane.