1970s
This battle of Nazis versus Christmas forms the unusual narrative backbone of a bizarre yet beloved Christmas classic: Santa Claus is Comin’ to Town.
In anticipation of No Time To Die, Jake Tropila takes a look back at Moonraker, the film that launched Roger Moore’s Bond into space.
Jake Tropila takes a look back at The Spy Who Loved Me, Roger Moore’s third Bond film, in anticipation of the release of No Time To Die.
As we await the release of the next Bond film, we take a look back at The Man with the Golden Gun, Roger Moore’s second entry.
As we await the release of No Time To Die, Jake Tropila takes a look back at Live and Let Die, Roger Moore’s first film as James Bond.
As we await the next film in the franchise, we take a look back at Sean Connery’s return to the role of James Bond in Diamonds Are Forever.
Blake Collier takes a deeper look at the three Estus W Pirkle-Ron Ormond films that bookended the 1970s.
The film making is far from flawless, but what Ganja & Hess really projects is the sense that it came from a person who wanted the work to reflect himself.
1979’s Apocalypse Now has achieved an almost cult-like status, and no war film has captured the depravity of war the same way since.
Despite not being as well known as some of his masterpieces, Why Does Herr R Run Amok? makes for an ideal introduction to Rainer Werner Fassbinder.
A satisfying slice of sleaze served up on celluloid, Série Noire is a deliciously good watch.
This month for our Staff Inquiry, we’re highlighting some of the TV series that left us feeling just right.
We salute Rudy Ray Moore, who had a wild idea, got his pals and like-minded folks together, wrangled some money, and went out to make a movie.
Je T’Aime Moi Non Plus is another fitting example of what made Serge Gainsbourg such a unique and, yes, controversial talent.
Horror classics When A Stranger Calls (1979) and When A Stranger Calls Back (1993) are being re-released on BluRay. Alex Lines takes a look.