The Long Good Friday is such a potent blend of trash and class. It pounds out crass dialogue, explosions, and squibs with glee and brutality. The score by prog-rocker Francis Monkman is as ludicrous as it is awesome. Every scene prickles with rage. Yet behind the vicious nastiness is an intelligent, realistic backdrop placing The Long Good Friday perfectly in tune with its time and reveals a new breed of property mogul gangster (something uncomfortably relevant today). I loved pretty…

A cast that includes Udo Kier, Barbara Crampton, Thomas Lennon, Michael Paré, and Charlyne Yi. A score by Fabio Frizzi. Stacks of puppets. An absurd amount of gore. On paper, Puppet Master: The Littlest Reich is a trash-masterpiece. In execution, it's absolutely not. As fellow Letterboxder karamashi perfectly puts it, this "barely qualifies for a film". The pace is absolutely bizarre. At best, it feels like a series of loosely related sketches, at worst, like unedited rushes. The script is…

The Boxer's Omen is pure madness on celluloid! I can't thank Chris Purdie enough for recommending this to me. This is everything I could ever want in a film. Here is a paragraph of some things you'll see in The Boxer's Omen because my brain can't construct proper sentences at the moment...

Violent kickboxing. Bolo Yeung's disproportioned body. Buddhist monks fighting demons. Spiders (that make the spiders from The Beyond look awesome) drinking liquid poison from tiny straws. Conversations with…

It's hard to believe that this Ross Lynch is the same Ross Lynch who so brilliantly captures Dahmer's hunched, blank-faced, drunken aura. Lynch spends most of the film expressionless yet he conveys so much through so little. The smallest smile. An awkwardly delivered line. He's perfect. His Dahmer is as sympathetic as he is terrifying. The film outside of Lynch is also solid and subtle (it helps that the source material—Backderf's fantastic graphic novel—is excellent). This is not a gruesome…