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…
By Alex Adams
For as well as being a tremendously enjoyable sci-fi horror romp, Predator is also a novel engagement with the iconography, aesthetics, and politics associated with Cold War-era military interventions in Latin America, Southeast Asia, and elsewhere…
By Sam Moore
It’s easy to spot an exploitation film by the cover of the poster or DVD. Maybe more so than any other type of art, you can judge it by its cover: a woman, often barely dressed, holding some kind of weapon. Think Pam Grier on the cover of Coffy or Foxy Brown…
The first music videos to air on MTV and broadcast television were chaotic blurts of arty nonsense defined by pastel colors, cheesy dance party theatrics, and avant-garde visual effects…
The Omen is generally considered a bleak film because the devil wins. But it’s even bleaker as a picture of who the devil is supposed to be, and what kind of measures are needed to defeat him…
Invitation to Hell definitely follows on well-trod thematic ground, examining the American nuclear family’s impulse to conform and keep up with the Joneses in suburbia. But it’s on the execution, in the casting, and in a few of the left-field plot developments that the film really shines…
By K.E. Roberts
World-weary Captain Andrews (Hugh O’Brian) never smiles, but he is especially not smiling today. The company’s luxury liner was overbooked, you see, and he’s been ordered to take eight passengers 800 miles to Mexico on a busted up “battle wagon” (in fact a midsized pleasure boat decorated with ferns)…
We Are the Mutants 