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  • Parting Glances

    Parting Glances


    Bill Sherwood's Parting Glances is the moving and funny story of a queer love triangle involving a couple gearing up to spend some significant time apart and their sardonic friend, a musician who is dying of AIDS. It's a film that was a bit ahead of it's time and quite impressive in the way it handled a really hot topic in an intimate and nuanced way. An extremely charasmatic Steve Buscemi steals all his scenes as the ailing wiseass New…

  • Wounds



    Babak Anvari's Wounds tells the story of a shallow man. He's a handsome charmer who tends bar while he drifts aimlessly, not interested in anything more than the next drink or empty flirtation. One night some teenagers leave a cellphone in his establishment after witnessing a violent altercation. When our slightly soused slacker picks it up he soon finds himself haunted by mysterious occult forces. It's not much of a plot but this is a darkly beautiful slow burn chiller…

  • Bliss



    Joe Begos delivers on the promise of his first two features with the unapologetically hedonistic Bliss, a film that boldly disregards familiar emotional beats in favor of a roiling, disorienting fervor. This take of a drug addled art punk on a blood bender maps out the road to hell with a series of mind melting candy colored psychedelic mindfucks as she's sucked further and further into vampiric hysteria. It's a grungy technical marvel and it has to be to realize…

  • Palookaville



    Alan Taylor's Palookaville is a low key caper comedy about three buddies and their half assed attempts to make a score. William Forsythe, Adam Trese and Vincent Gallo star while a gifted supporting cast adds additional flavoring. The film's realistic attention to detail would be dreary if it weren't for the good natured sense of humor and compassion on display, making it refreshing in a the often tired genre of criminal schtick. I'd say it's gritty in a gentle way.…

  • Dead of Night

    Dead of Night


    Deathdream, Bob Clark's socially conscious masterpiece, tells the story of a soldier who returns to his family as a spectre of pure white hate. Andy's not frothing at the mouth though, his demeanor is eerily calm. It's a horror movie that takes the domestic fallout of the Vietnam war and brings it right to the front door. No other zombie film has used it's undead metaphor with as much pinpoint accuracy. This isn't a satire though. It's dead serious, chilling and uniquely powerful.

  • The Devil's Honey

    The Devil's Honey


    In The Devil's Honey a perpetually naked woman who gets off on wind instruments seeks revenge after her lover dies on the operating table. This is a ridiculous piece of softcore sleaze from Lucio Fulci that's dripping with politically incorrect weirdness. It's guilty of many misdeeds but it never commits the sin of being boring. My only real gripe is that the jumpy second half feels like it was chopped down from a much longer movie as there was so…

  • Matador



    Matador is a Pedro Almodóvar film that features a very young Antonio Banderas as a psychic virgin who crosses paths with two sexually overheated murderers. This early effort is one of his most lurid and explicit as well as one of his best. It's also the closest he's ever come to directing a giallo. The humor is pitch black, the visuals are sumptuous, the performances are bold and the passions run wild. Fans of the master's well regarded late career melodramas may be caught off guard by the kinky insanity on display although that soapy bravado is still very much in evidence here.

  • Aenigma



    In Lucio Fulci's Aenigma a comatose nerd uses her latent psychic powers to exact revenge on her youthful tormentors at a boarding school in Boston, Massachusetts, where all the citizens are poorly dubbed into English. It lacks the technical skill of the maestro's greatest work but retains the baffling logic that gives his ouvre it's entrancing, dreamy resolve. It's addictive fun to count the number of questions raised by such a seemingly straightforward plot, but it's far from a bad…

  • The Great Silence

    The Great Silence


    Persecuted outlaws are under attack by ruthless bounty hunters in Sergio Corbucci's beautiful and brutal The Great Silence. A controlled and typically menacing Klaus Kinski leads the cold blooded killers while a subtly soulful, mute Jean Louis Trintignant may be the only thing that stands in his way. These two iconic performances balance each other out perfectly and elevate the pulpy and politically pointed material above it's already solid station. The film's wounded heart is frozen within forbidding wintry landscapes…

  • All the Colors of the Dark

    All the Colors of the Dark


    Touched by tragedy, the divine Edwige Fenech finds her life spinning out of control when she seeks comfort in the occult. It's All The Colors Of The Dark, one of the crowning achievements of the giallo subgenre and Italian horror in general. There's never a dull moment as director Sergio Martino offers up kaleidoscopic visuals, bizarre dream sequences and autumnal imagery in service of familiar material that handily transcends it's genre trappings thanks to his masterful touch. Everything works in…

  • In the Soup

    In the Soup


    In The Soup is a low budget comedy, shot in beautiful black and white, from Alexandre Rockwell that explores the relationship between a pretentious wannabe director and the small time hood who takes him under his wing. Light on plot but borrowing from at least a couple of well worn genres, it owes more to old school art cinema and downtown hipster flicks than it does to self referential movie satires or the contemporary wise guy worlds of Scorsese. While…

  • Turkish Delight

    Turkish Delight


    Paul Verhoeven's rough but often perversely joyous romance Turkish Delight is about a rambunctious artist and the free spirited redhead he falls in love with. It may be working from a cliched angle but it's fueled by two fearless, intense and extremely uninhibited performances as well as a beautifully anarchic and ferocious sexual energy that distinguishes it from the pack. Like Verhoeven's best, it's rebel art, proudly provocative and pretty problematic at times. Wildly popular at the time of it's release, this scatalogical fuckfest would never get that kind of reception today. One of my favorite movies. RIP Rutger Hauer