Tag Archives: Not Coming to a Theater Near You

The Tenant (Roman Polanski, 1979)

“In The Tenant, estrangement is as much psychological state as sociopolitical category. From the start, the inhabitants of the apartment house treat Trelkovsky like an outsider, an unwanted incursion into their body politic. Indeed, the film explicitly aligns residential politics … Continue reading

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God Told Me To (Larry Cohen, 1976)

“None of Cohen’s other films can touch God Told Me To for sheer audacity, combining the handheld verisimilitude of gritty police procedurals like The French Connection with a loopy premise straight out of Erich Von Däniken’s Chariots of the Gods? … Continue reading

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The Baby (Ted Post, 1972)

“The Baby is a nasty little shocker that continually defies expectations. Starting out as wonderfully unhinged exploitation fodder, it soon morphs into a tawdry psychosexual thriller and eventually winds up in full-on slasher territory that’s surprisingly bloody considering the PG … Continue reading

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Southland Tales (Richard Kelly, 2006)

“Gazing up from the troughs of the mid-Bush years, Richard Kelly expediently scheduled his then-future shocks for the next election year, so it seems evident he had some idea of effecting real-world change with his satirical screed. Precisely in what … Continue reading

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Escape from New York (John Carpenter, 1981)

“Although it didn’t see the light of day until Ronald Reagan’s triumphalist Morning in America had dawned over the land, Escape from New York was initially conceived in the disenchanted aftershock of the Watergate scandal, when confidence in the nation’s … Continue reading

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Bug (Jeannot Szwarc, 1975)

“Bug is a cautionary tale about a swarm of “firebugs” – impossibly ancient subterranean insects that digest carbon ash and can set things on fire – unleashed on a California desert town by an earthquake. With its loosely hinged bipartite … Continue reading

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Captain Kronos – Vampire Hunter (Brian Clemens, 1974)

“By the early 1970s, Hammer Film Productions’ flagship Dracula and Frankenstein franchises were suffering from a severe case of enervation—a certain bloodlessness, if you will. One tack taken by Hammer was to open up production facilities to non-studio talent with … Continue reading

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