As with any Romero film, The Crazies is a politically charged satire that uses the language of the genre to take stock of what is happening in the world – with war and science fiction the tools adopted. Unlike other war films, Romero tracks both sides in Evans City, Pennsylvania. […]
Reviews
JD’s Revenge (1976) In touch with its culture, and has ideas that transcend its budget (Review)
The Villainess (2017) Bravura actioner containing two of the best scenes of the past decade (Review)
2017 has been a watershed year for Korean cinema. Park Chan-Wook, Kim Jee-Woon, and Joon Ho-Bong returned with the latter directing one of the largest budgets for a Netflix original. Beyond that upper echelon, cult aficionados Arrow Video have finally engaged with Korean cinema by releasing the acclaimed action film, […]
The Gorgon (1964) Hammer’s Terence Fisher tackles Greek Mythology (Review)
The most famous monsters in Hammer Studios’ repertoire were essentially the same ones Universal had hit paydirt with in the 1930s: Dracula, Frankenstein’s Monster, the mummy. But Hammer had plenty of other things to shock and disturb audiences with – zombies, Satanists, aliens, man-lizards and, at the end of the studio’s […]
The Haunting (1963) the impenetrable monochrome terror of black and white horror (Review)
The transformation of the haunted-house subgenre began in Edgar Allen Poe’s The Fall of the House of Usher, where the house, rather than just the ghosts within it, demonstrated paranormal abilities. In his essay ‘Supernatural Horror’ H.P. Lovecraft argued that the point of Poe’s story was to show that the house […]
Shaft (1971) The icon behind the legendarily cool music (Review)
There’s Always Vanilla (1971) George Romero’s Lo-Fi & Savage Anti-Advertising Satire (Review)
The Vikings (1958) The closest the Viking genre has to a John Ford movie (Review)
Blade Runner 2049 (2017) A visionary homage to a Sci-Fi Classic
The Party (1968) Peter Sellers as the Elephant in the Room (Review)
There are Elephants in the room that are both literal and metaphorical in the Party, the latest release from Eureka. One appears in the final chaotic throes of the titular party and the other is represented by Peter Sellers in brownface adopting an Indian accent. Positioned somewhere between the horrifically […]