Outside of David Cronenberg’s work and stray oddities like 1980’s The Changeling, the Canadian horror and sci-fi movies of the 1970s and ‘80s often get overshadowed by their counterparts from the US and Europe…
By Sam Moore
The cinematic vampire is a fragile thing, not only for its many vulnerabilities—sunlight, crosses, garlic—but for the ways in which it can be rendered hollow, a construction…
By Alex Adams
Many of the fifteen Shōwa films are rich with social commentary and formal and stylistic innovations. Perhaps the boldest of them all—and perhaps the most unfairly maligned—is 1971’s psychedelic eco-horror Godzilla vs. Hedorah…
Watching Split left me with the distinct feeling that I just missed five minutes of it without leaving my seat…
By Pepe Tesoro
If you are even mildly interested in science fiction criticism, chances are that you have bumped into Susan Sontag’s 1965 essay “The Imagination of Disaster.” Written at the tail end of the long 1950s golden era of sci-fi film, the text is a bold and keen examination of a genre…
By Sam Moore
One of the first, most potent images in Wakefield Poole’s groundbreaking 1971 adult film Boys in the Sand is that of Casey Donovan emerging from the waves before making his way onto the beach. The image feels like a queering of a common cultural touchstone…
The Angel Levine was greeted with irritation, befuddlement, and a good amount of indifference upon its release in 1970. Organized and produced by Harry Belafonte, the movie is an allegorical discussion of Black-Jewish relationships using a mix of realism and fantasy…
By Alex Adams
Ishiro Honda’s 1954 Godzilla is perhaps the most widely praised Kaiju film ever made. A special effects masterpiece at the time, the monochrome mother of all monster movies had bleak, fume-laden visuals, a gloomy, mournful tone, and an unambiguous anti-nuclear message…
By Andrew Nette
In a June 2017 article in Fortean Times, the British magazine concerned with strange and paranormal phenomena, writer and broadcaster Bob Fischer discussed how the sensation of not being exactly sure what you were watching on television was a common experience in relation to consuming visual culture in the 1960s and 1970s…
The irony of the Voight-Kampff test, an analysis that Rick Deckard (Harrison Ford) performs to identify “replicant” androids in 1982’s Blade Runner, is that it does not actually prove that his subjects are replicants…
