Enter giallo gallery in ‘Bird with the Crystal Plumage’ (1970)
Frightening Friday (Movie review): Rome architecture and cinematography elevate this tale of an American trying to solve Italian serial murders.
Foreign Films
Enter giallo gallery in ‘Bird with the Crystal Plumage’ (1970)
‘My Bloody Valentine’ (1981) joins lineup of holiday slashers
Frightening Friday (Movie review): Though you might not desire a long-term relationship with this Canadian movie, it’s deserving of one date.
Short film ‘The Black Hole’ (2008) unlocks an opening in an unlikely place
Throwback Thursday (Movie review): This sharp British short explores the drudgery of – and escape from – office work in less than 3 minutes.
Heavy-handed cut-and-shunt celluloid: ‘Curse of the Stone Hand’ (1965)
Frightening Friday (Movie review): Jerry Warren’s oddity intercuts and dubs two 1940s Chilean films into an entertaining package.
‘Furiosa: A Mad Max Saga’ (2024) a bildungsroman of vengeance
Five days of ‘Mad Max’ (Movie review): George Miller’s epic prequel aims to put the woman warrior at the same status as Max, and mostly succeeds.
‘Mad Max Beyond Thunderdome’ (1985) expands the dystopia
Five days of ‘Mad Max’ (Movie review): Co-directing with George Ogilvie, George Miller spends less time on action, more on characters and world-building.
Mad Max goes mainstream with ‘The Road Warrior’ (1981)
Five days of ‘Mad Max’ (Movie review): George Miller goes bigger and better as Mel Gibson’s vigilante continues to pound through the wasteland.
Saga starts with gritty, DIY action in ‘Mad Max’ (1979)
Five days of ‘Mad Max’ (Movie review): George Miller’s saga begins with amazing low-budget stunt work and the rise of a vigilante hero.
If you like Gogol-inspired Soviet folk-horror, you’ll love ‘Viy’ (1967)
Frightening Friday (Movie review): This Russian-language classic concerns a brave student and a very beautiful, very dead girl in what’s been called the first Soviet horror film.
Old Hollywood meets film noir in ‘Paradine Case’ (1947)
On a Hitchcock kick (Movie review): The director closes out his pre-color period with a moody courtroom drama that’s not as strong as it could’ve been as a mystery.