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800 Bullets |
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"... a tribute to the magic of movies and moviemaking set and shot in Almeria, Spain (home to scores of sixties westerns)." | |
Sean Axmaker | |
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Audition (2001) |
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"(The) disturbed and disturbing psycho-horror nightmare begins as a gentle romance based on a lie and then shoots into the Twilight Zone of obsession, sadism, and mutilation." | |
Sean Axmaker | |
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A Bell From Hell (1974) |
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"... walks a fine line between horror and sick humor." | |
Sean Axmaker | |
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The Big Red One (1980) |
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"... one of the great films not just about WWII, but the experience of war itself." | |
Sean Axmaker | |
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The Bird with the Crystal Plumage (1969) |
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"... the story is only a structure for Argento to spin his painstakingly choreographed visions of violence and terror with a fluid camera and carefully controlled colors." | |
Sean Axmaker | |
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Bitter Victory (1957) |
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"Nicholas Ray directs with an uncompromising austerity that puts the hypocrisy and the bitter inhumanity of war in focus..." | |
Sean Axmaker | |
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The Black Cat (1934) |
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"... a baroque masterpiece, the pinnacle of expressionism of Hollywood." | |
Sean Axmaker | |
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Blood and Black Lace (1964) |
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"The plot becomes secondary to spectacle of the dreamy dance of death, choreographed with sadistic precision, delivered in lurid color, spied upon with a restlessly gliding camera." | |
Sean Axmaker | |
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The Candy Snatchers (1973) |
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"... a forgotten classic of cynical drive-in noir, a perfectly nasty seventies exploitation film with a vicious sense of doom." | |
Sean Axmaker | |
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Cannibal Holocaust (1980) |
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"... specious commentary on the manipulation of violence in news and documentary footage and the exploitation of sordid spectacle for entertainment." | |
Sean Axmaker | |
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Captain Clegg (1962) |
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"Unleashes Hammer's trademark Gothic style on a dynamic genre mix: part pirate film, part smuggler thriller, part shadowy small-town crime conspiracy." | |
Sean Axmaker | |
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Clonus (1979) |
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"... a sickly satirical parody of the free world." | |
Sean Axmaker | |
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Danger: Diabolik (1968) |
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"... a surreal mix of spy movie, heist thriller, and anti-establishment satire, all with delirious style and tongue firmly in cheek." | |
Sean Axmaker | |
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Dirty Mary Crazy Larry (1974) |
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"An iconic outlaw classic of seventies speed cinema..." | |
Sean Axmaker | |
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Donnie Darko: The Director's Cut (2004) |
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"Once branded a flop, Donnie Darko travels through the tangent universe of cult cinema and emerges in a longer, denser Director's cut. Here's a look at the journey..." | |
Sean Axmaker | |
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Finding Neverland (2004) |
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"A Consumate Pro: An Interview with Marc Forster" | |
Sean Axmaker | |
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Forty Guns (1957) |
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"... sexual energy and psychotic violence that explodes onscreen in staccato editing, darting camerawork, and the maddest expressions of love this side of Duel in the Sun." | |
Sean Axmaker | |
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Garden State (2004) |
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"Living Large: An Interview with Zach Braff" | |
Sean Axmaker | |
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Godzilla: Final Wars (2004) |
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"... a blithely campy, altogether good-natured love letter to the classic Godzilla films of the 1960s and 1970s directed by... Japan's adolescent action stylist." | |
Sean Axmaker | |
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2.5/4 |
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The Interpreter (2005) |
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"Pollack becomes so caught up in the machinations of plot that he allows the politics to boil down into simplistic mush." | |
Sean Axmaker | |
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4/4 |
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The Lord of the Rings: The Return of the King (2003) |
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"There isn't a film in the trilogy that benefits more from the "Extended Edition" treatment." | |
Sean Axmaker | |
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The Most Terrible Time in My Life (1994) |
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"... a lively, witty tribute to American private eye films with a serious core." | |
Sean Axmaker | |
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My Name Is Nobody (1974) |
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"Part spoof, part farewell to the frontier myth, it's kind of a slapstick version of The Gunfighter." | |
Sean Axmaker | |
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Olga's Girls (1964) |
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"Indifferently acted, crude and sleazy, this fascinatingly bad exploitation artifact of 1960s grindhouses is hilarious camp..." | |
Sean Axmaker | |
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Olga's House of Shame/Olga's Dance Hall Girls/White Slaves of Chinatown - Triple Feature (1964-1966) |
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"For pure exploitation, it doesn't get any more perverse and irredeemably sleazy than Joseph P. Mawra's bargain basement, not-so-Grand Guignol "Olga" films..." | |
Sean Axmaker | |
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Planet of the Vampires (1965) |
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"Though never particularly scary, Bava has a cool way with the alien eerieness of it all..." | |
Sean Axmaker | |
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The Quatermass Conclusion (1979) |
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"... an ingenious bit of speculative fiction that combines science, myth, religion, and sociology..." | |
Sean Axmaker | |
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3/4 |
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Sin City (2005) |
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"A pastiche of the most naively macho extremes of brutal pulp fiction, lovingly rendered as mock anti-hero B-movie crime opera." | |
Sean Axmaker | |
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The Specials (2000) |
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"It's such a low key parody that the undercurrent of deadpan nuttiness and sheer invention just sneaks up on you." | |
Sean Axmaker | |
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The Stairway to the Distant Past (1995) |
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"Hayashi's jazzy style is at once both playful and serious, full of comic wit and lighthearted character comedy..." | |
Sean Axmaker | |
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Tetsuo: The Iron Man (1988) |
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"Filled with wild stop motion effects and brilliant conceptual horrors, this is a horror film for the modern technological world." | |
Sean Axmaker | |
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The Trap (1996) |
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"Hayashi's jazzy style is at once both playful and serious, full of comic wit and lighthearted character comedy..." | |
Sean Axmaker | |
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Trick Baby (1973) |
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"This confidence drama set on the streets of Philadelphia is charged with issues of race, racism, family, and trust in ways that no other blaxploitation film touches on." | |
Sean Axmaker | |
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4/4 |
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Twilight Zone: The Definitive Edition - Season 1 (1959/1960) |
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"This collection has been lovingly put together, and as it boasts, it makes for the Definitive treatment of this essential show." | |
Sean Axmaker | |
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