Scars of Dracula marked a turning point in Hammer’s Dracula series.
It’s high time for a reappraisal of O.C. and Stiggs as a vintage Altman satire of the 1980s.
Nobody did more to perpetuate the gothic mode of storytelling on television than Curtis.
The key word for this series is exhibitionism.
The film is a haunting and at times surreal examination of a married couple’s fears and desires.
Malpertuis is a tantalizingly surreal and at times erotic riff on gothic tropes.
The film is a dark fable about souls in extremis who are half in love with easeful death.
The film rigorously interrogates the personal and social consequences of its violent action.
The film taps into many of the overarching concerns within Russell’s body of work.
Severin returns the series to Italy with a uniformly entertaining quartet of titles.
The Pied Piper is a pitch-black fairy tale of greed, corruption, duplicity, and betrayal.
The film exists in a disorienting middle ground between present and past.
Franco knew how to bring a franchise to its logical conclusion.
The plot of the film is almost secondary to its fabulous set pieces.
Cohen’s film is a barbed satire of 1980s consumer culture.
Brazil ponders a future made to sustain a draconian past molded by inequality.
These films center around women going about their often-unhinged business.
Motorpsycho and Up! represent two very different tendencies within the Meyer filmography.
Fulci’s 1972 film is a haunting examination of guilt, innocence, and repression.
Penn’s Night Moves is one of the great revisionist noirs.