The way Ultraman treats Dodongo is genuinely disturbing. It's like watching a psychotic child torturing an animal. He even rides him at one point, which is both funny and unsettling.
I don't know what this movie is, but its poster is seriously freaking me out.
Outside of Hong Kong cinema, it's pretty rare to see gratuitous kid death in a movie. Brian Yuzna breaks that rule very early on in Beneath Still Waters by tearing a child's face open. Yikes.
Yes, Pretty Woman is a big piece of crap, but it's also, in many ways, a perfect CAT III outing. This is not CAT III's finest, but it could well be the most CAT III CAT III movie ever made.
I really don't know what I could possibly say about a poster like this to do it justice. I am still kind of dumbfounded it exists.
Recently, we featured Zatoichi eating a rock. This week we bring you Zatoichi eating some dirt in Zatoichi and the Fugitives.
I thought there was no such thing as an 80s teen sex comedy I couldn't enjoy. Even at [what I thought was] their worst, their energy, gratuity and downright stupidity kept me entertained. This was yesterday. Before I watched Party Camp. Fuck.
I've definitely watched Orloff and the Invisible Man — or whatever other title you know it under — but I have zero memory of it. I think I might have liked it. Either way, I love this purple-drenched French poster for it!
This scene from Trancers II has it all: Tim Thomerson, gunfire, squibs, slow motion stupidity, disintegrating zombie idiots, a cutaway to terrified old ladies, and an awkward one-liner.
Pillow Talk is an impressive achievement and staggering proof that thoughtful cinema — on both a visual and thematic scale — can be made with next to no money and a tight schedule.
Anyone who knows me will tell you that 'Scary Glove Films' are among my favourite genre. Rather than obfuscate the impact of a scary glove behind stylish titles, Ross Hagen's The Glove celebrates its obsession with scary gloves.
Initiation features some unbelievable effects work from Screaming Mad George. The best example of the Japanese effects master's work in this film can be seen in an absolutely repulsive ritual sequence that concludes with a very Cronenberg-esque chunder.