Lenzi’s Nightmare Beach is a gonzo slice of late-’80s Italian horror.
The films assembled in Arrow’s box set testify to Mastorakis’s skills as a pop-cultural bricoleur.
The film perfectly encapsulates the disaffection, alienation, and paranoia of an era.
This collection shines a spotlight on moodily gothic Spanish filmmaking of the 1970s.
The film is a gorgeously rendered fable about the salvific power of love, fidelity, and patriotism.
With this film, Welles laid out the blueprint for future revisionist takes on Shakespeare’s works.
The Case of the Bloody Iris is a quintessential, stylishly assembled giallo.
Chinatown ends on a note so despairing that it seems practically apocalyptic.
Gilliam’s film is a lysergic-tinged lament for the death of the American dream.
Kin-dza-dza! has as much to say about today as it does the last gasps of the Soviet Union.
The film rewards multiple viewings with the sheer density of its verbal and visual humor.
Powell’s film turns its camera eye on an unhealthy obsession with all things cinematic.
Soavi pushes his material as far as possible into absurdism and the surreal.
Von Trier’s miniseries plays like the unholy love child of St. Elsewhere and Twin Peaks.
The film is a disturbing descent into the inferno of an unpardonable institution.
The film splits the difference between period-drama gravitas and exploitation-film titillation.
Nakata’s J-horror classic examines recurrent cycles of familial and institutional negligence.
Bava’s ghost story is replete with kinky sex, fiery passions, and coldblooded murder.
When it comes to playing at revolution, Leone suggests, it’s best not to get involved.
The works in this set range from the virtually archetypal to the resolutely revisionist.