In the first installment of his ongoing B-movie and exploitation film revue, Ed Steck takes a look at the bizarre confluence of styles at play in 1977’s The Incredible Melting Man.
Why is David Lynch’s Blue Velvet considered a classic, while Jonathan Demme’s strangely parallel Something Wild is not? Scott Creney provide a close critical evaluation of two of 1986’s strangest films.
The latest film from Francesco Munzi appropriates mob culture, not through violence, but through moral strategy. Eric Nelson reviews.
A look back at the stark, disorienting effect of Alejandro Jodorowsky’s first full feature film, the seminal Fando y Lis.
How can any artist escape the representative nature of an image without simultaneously utilizing images or representations? Paul Cunningham considers the question via a deep look at cocaine, Andy Warhol, and Marilyn Monroe in the work of Brazilian artist Hélio Oiticica.