Tokyo, Mon Amour
August 25th, 2011 | by Charles H. Meyer
Samuel Fuller's "House of Bamboo" (1955) offers both an expansive glimpse of post-war Japan and a taut gangster drama built around an interracial romance
August 25th, 2011 | by Charles H. Meyer
Samuel Fuller's "House of Bamboo" (1955) offers both an expansive glimpse of post-war Japan and a taut gangster drama built around an interracial romance
August 9th, 2011 | by Paul Anthony Johnson
"A Star is Born" (1954) represents the apotheosis of the Garland mystique
March 15th, 2011 | by Dave O'Gorman
Dave O'Gorman tackles Gaspar Noé's "I Stand Alone (Seul Contre Tous)" for this edition of "From the Vault."
February 23rd, 2011 | by Charles H. Meyer
Exploring the uncanny resonance between Robert Altman's "Images," Nicolas Roeg's "Don't Look Now" and Roman Polanski's "The Tenant"
February 14th, 2011 | by L. Caldoran
L. Caldoran explores how "Antichrist" and "Possession" make the hell that relationships can be as literal and visceral as possible
February 7th, 2011 | by Charles H. Meyer
"Cubicle Rebellion, or Three Ordinary Guys with Nothing To Lose: An Unconscious Film Trilogy" is a look at "Office Space," "Fight Club" and "American Beauty" as a zeitgeist trilogy
October 29th, 2010 | by Louis Hamwey
Werner Herzog made two versions of his spellbinding "Nosferatu" in 1979 without so much as a peep about it. Cinespect investigates the reasoning behind this phenomenon.
October 11th, 2010 | by Michael Gibbons
In the cinematic spirit of October, Cinespect looks back on some of H.G. Lewis' work, along with a doc about the man and his legacy of gore
September 30th, 2010 | by Matthew Minot-Scheuerman
The imagery that occurs in "Shame" is often transitory, yet permanent.